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• W279751406 abstract "HOLY SONGS PRESENTED ON CHIPPED PLATES Jennifer Atkinson, of Night Path (Parlor Press, 2013)With lyrical fluency reminiscent of Gerard Manley Hopkins', with diction and anaphora reminiscent of New Testament, with dignity of tone and breathtaking delicacy of image, poems in Jennifer Atkinson's fourth collection quickly establish a quiet authority and sustain it with remarkable consistency.From Canticle of A to Canticle of Zed, alphabetical order is first level of organization, along with a rough chronology (Canticle of Before appears on page 5 and Canticle of Wolf, on page 58, tells us that this is the last wolf). Beneath such obvious markers, poems cohere deeply around elements of natural and history. personal here is not attached to a particular, recurring speaker; what recur, in few poems inhabited by an I as well as many speaker less poems, are instead elements of human experience-death, love, happiness, breath, praise-with which all readers can connect.Of these 57 holy songs, five (all subtitled Parable of Mary Magdalene) are inspired by fragments of ancient papyrus manuscripts discovered buried in a farmer's field near Nag Hammadi, Egypt; seven more poems name her in titles, including Canticle Magdalene's Outcast Demons and Canticle of Magdalene and Lamp. Invocation of ancient manuscripts, which date to third and fourth centuries, gives book a religious aura but not a conventional one: controversy has surrounded figure of Mary Magdalene two thousand years. Was she a minor figure in Jesus' life, or a prostitute, reformed or otherwise? Was she, as Gnostic manuscript suggests, an apostle-one favored, in fact, by Jesus?A feminine presence abounds, beyond that of Mary Magdalene: last wolf is female, as is crow in Canticle of Crow; ten girls inhabit Canticle of Bridegroom, and St. Martha, kitchenmaid, sister of Lazarus former corpse, slays her dragon and becomes saint and savior of Provence. Two poems mid-book are addressed, separately, to Italian poets Montale and Leopardi, but otherwise men appear infrequently, and then usually in titles- two name Francis, another names Giotto (but full title is Canticle Giotto's Magdalene). One poem addresses a brother.There are many sorts of brothers, of course, and on a later reading I discovered from notes that this poem is for Gerard Manley Hopkins [and] borrows language from several of his In fact, notes dedicate six other poems to French and Italian male poets. Canticle after Francis begins sister sun... For brother moon..., reversing usual association of moon and women. Perhaps this is a clue to why so many men populate notes: women thrive in full light of these poems, men in penumbra of poet's remembered reading experiences.All of poems in of Night Path are in units of fivelines, stanzas or paragraphs-summoning familiar pentacle star of Christianity. book includes a few loose ghazals, some poems in single lines and couplets, and prose poems. None of forms calls attention to itself; they are as transparent as occasional speaker.The Biblical tone of book is supported by imagery and diction, with frequent mention of olive trees, almond groves, orchards, honey, bread, shepherds, angels and flames. tone, however, is not moralistic, dogmatic, or overly abstract. authority is poetic, not religious: abstractions that do appear are imbedded in imagery that is original and compellingly accurate. Body ash, instance, is described in Canticle of Dust as beach sand but rougher. Sometimes images are arresting, like light-stung, or unrolling ferns described as infant fists. Other images have a word-play quality that rewards multiple readings, as in opening line of Canticle of White Rose: The lantern's shadow returns to globe. …" @default.
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• W279751406 date "2014-04-01" @default.
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• W279751406 title "Holy Songs Presented on Chipped Plates" @default.
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