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It is with great pleasure that I recommend the writings of Chilean-born Fernando Rodríguez.
Mr. Rodríguez is a well-kept secret within the inner circles of modern-day writers of poetry and prose. His work can be likened to the favorite boutique or club that the true “in-crowd” (e.g. those that really know and understand today’s literature) quietly keep for themselves, out of fear that if the cat is let out of the bag EVERYONE will be sporting (or spouting) his style, words and thoughts .. and thus, the magic will soon be lost. Not to worry. Fernando Rodríguez is always two steps ahead of that which is in “vogue”, and is at the same time forever reminding us of the true essence and drive of good writing: a solid understanding of the rudiments of classic modern literature and the ever-haunting function and history of the human dilemma .. and always seasoned (or often quite peppered) with the psychological glimpses of reality bordering tightly against the surreal. There is no escape from reality in the poetry and prose of this Señor Rodríguez; and there is no peace for the meek or the lame either. His unlikely images are so distinctive; so visually hard-hitting; so matter-of-fact that they must be accepted as the norm. One cannot read through his works mechanically without personal consequence. When one looks into his mirror, one sees not oneself looking into a mirror .. but experiences the mirror as a part of oneself.
His anti-flamboyant style is at once disarming. Is it affected, or is it pure genius? One almost gets the impression that he couldn’t give a “damn” if you believe him or not .. and yet, he manages to convince us so strongly, and so immediately with his “of course, that is how it is imagery” that we almost robotically accept his presentation of assumed reality as our own – without question.
And just when we think we understand his style he challenges us further by taking it down to a whole new level -- he quite cleverly exploits the psychological aspects of assuming that one understands, and leaves the reader holding the bag and wondering: am I reading the author .. or myself? Without warning, Mr. Rodríguez commands us to succumb to the very questions we thought we were so clever in disguising and avoiding. Not merely who are you .. and who am I in relation to you; but when do you start/stop being/becoming me -- and I you .. and my perception of our surroundings?
How does he do it? He is apathetic towards “big words” or “cleverly-put-together” strings of words. He does not overembellish his adjectives, and he resists restricting himself (or us) with classic meter and rhythm. Like Jackson Pollack, he finds his own rhythm in the colorful images which seem almost randomly splattered over the page. But this randomness is but an illusion. No word, no image .. no sentence ... and no rhythm is randomly random in his poetry. Everything is meticulously measured to create an author out of the reader. You do not “read” his poetry or prose; you become it .. and in becoming it, you realize that you have always been it ............ and (perhaps) always will be it. Mr. Rodríguez’ writing is so powerful that I sometimes get the feeling that it could possibly – if permitted to soar out-of-control – one day overpower even the author himself .. much like the portrait of Dorian Gray.
A few examples follow:
Partenogenesis de las manzanas.
Escribe
un par de líneas al día
hasta que las palabras caigan de la rama
por su propio peso
y recobren su sentido
existencial, Pascal.
Si el acto de escribir
no fuera más que un juego de ecuaciones
simple sería el acto de morir
por el mero hecho de no haber sido capaz
de poner la resta y suma en palabras
del tiempo ya vivido
y del tiempo por vivir.
Qué operación más triste y dolorosa
Qué comercio más magnífico
con el aire que respiras y
los objetos que tu cuerpo toca.
Qué alcurnia más insolente la de morir
sólo por no haber sido capaz de escribir
un par de líneas al día.
O es que vamos o venimos yo no sé.
La falacia del ser por el estar.
La suma del tiempo restado
y del tiempo por morir.
Un día quizá
cuando los manzanos
estén todos patas arriba y
con desesperación
nos bebamos las aguas del mar
la ecuación maldita estará resuelta y
las palabras se harán agua en la boca
de los locos
que locos se agitan imaginándose peces
en su danza de goce y vuelo
hasta hacerlas perder el sentido original
y exhaustos las dejen caer al líquido vacío
convertidas en microscópicas manzanas.
And:
Prioridad de los ángeles.
No habrá compasión
en la mirada de los ángeles
ni temblor en las manos
que sostienen la espada
que implacable ciñe
sobre nuestras testas
la corona insostenible
de la duda.
As well as:
Tamayo pintor de lunas.
Bocas lunas que son sandías
El sol devorado por la luna.
Lunas bocas o cachos de toro
Y todo el sol en la sangre
Devorado por la luna.
Bocas que sonríen imitando la luna
Y el fuego de las vírgenes
Cuyos ombligos aún cerrados
Iluminan la mesa de antiguos dioses
Eclipsados por la luna.
Fernando Rodríguez’ writing is fascination itself. It is dangerous ... to you .. to me .. to our perceptions of who we are, and to “what is”. Fernando Rodríguez is certainly not merely a poet or a writer of prose. He is verily the art itself ... living, gasping, haunting .. and he will not disappear – even when we put/throw his book away.
There is one drawback – perhaps a major drawback – to Fernando Rodríguez’ poetry: he writes almost exclusively in Spanish. If you do not understand Spanish, then learn it – if only to experience YOURSELF .. through the mirrors of reality and illusion presented by the masterful Fernando Rodríguez.
- Literary criticism by Adam Donaldson Powell (based upon Del Azar y la Memoria, Pentagrama, 2000, Chile, ISBN 956-8009-07-8).
See also Fernando's website: www.geocities.com/fernandorodriguezpoeta/
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VICTORIA VALENTINE: an extraordinary novella for the young, and the ‘young at heart’.
(Published by Water Forest Press, a subsidiary of Skyline Publications, C/o Victoria Valentine, publisher and editor, New York, USA, www.waterforestpress.com,
E-mail: WaterForestPress@aol.com; ISBN 10: 0-9723493-4-0, ISBN 13: 978-0-9723493-4-5, Library of Congress number 2007937854).
Smartly written by Victoria Valentine, and attractively illustrated by Amanda R. Tucker, this endearing story is guaranteed to provide much thought-provoking entertainment for both children (ages 2-10) and their parents. Suitable for home readers as well as for schools and libraries, The Cutest Little Duckie can either be read in bedtime increments or enjoyed as a full-length special treat, and will undoubtedly be read again and again by many. A healthy alternative to television, this book will hopefully help to bring about a renaissance in communication between parents and young children regarding various issues of concern to the young but which sometimes can be difficult to approach in the everyday ‘busy-ness’ of modern times. The book is perfect bound with laminated cover, 8.5 x 8.5 square, 80 pages long with 70 full-color illustrations (suggested retail price: $18.95).
Tender yet exciting, this is a traditional story of growing affection between the cutest little Duckie and Monkey, containing emotional elements of real life: integrity and trust, close friendship, conquering fear, coping with separation, and the importance of developing the ability to be optimistic and to make the best of all situations. It also shows that although one may be small and feel vulnerable, one can stand strong as an individual, and find hope in the bright future created by believing in oneself. Children as well as adults will identify with and fall in love with these adorable "human-like" heroes.
There is one drawback: once the word spreads among friends and schoolmates your child will possibly become relentless in his/her attempts to get their parents to purchase this book. The colorful book cover and the many fun illustrations will immediately catch the eye of children who simply must take this page-turning book home. And once they have obtained the book you may have to pry it away from them when it is time for meals and sleep.
The Cutest Little Duckie is a perfect Christmas gift for children – all year round...
For more information about The Cutest Little Duckie or other Skyline Publications, or to schedule an interview, please contact Victoria Valentine at WaterForestPress@aol.com or see www.skylinemagazines.com.
Literary criticism (2007) by Adam Donaldson Powell (based upon “The Cutest Little Duckie”, published by Water Forest Press, New York, USA, www.waterforestpress.com, ISBN 10: 0-9723493-4-0, ISBN 13: 978-0-9723493-4-5, Library of Congress number 2007937854).
VICTORIA VALENTINE is the founder, publisher and editor of Skyline Publications, which she created in September, 2001. Skyline publishes multiple titles including Skyline Literary Magazine, SpinningS…intense tales of life, A Hudson View Poetry Digest, At Poetic Times Magazine. Victoria is the co-author of At The Stroke Of Midnight, 24 Tales of Terror. She also wrote lyrics for 5 songs included on the Eyes Of Ash CD performed by The Unintended of NY. Victoria resides in New York, USA. She has been writing since childhood and through the years has gathered various literary and art credits. She has been published online and in print magazines in the USA, UK, France, India, and in South Africa.
ADAM DONALDSON POWELL (Norway) is a literary critic and a multilingual author, writing in English, Spanish, French and Norwegian; and a professional visual artist. He has published five books (including collections of poetry, short stories and literary criticism) in the USA, Norway and India, as well as several short and longer works in international literary publications on several continents. He has previously authored theatrical works performed onstage, and he has (to-date) read his poetry at venues in New York City, Oslo (Norway), Buenos Aires and Kathmandu (Nepal).
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LEGACY: BY AN EMERGING POETIC FORCE FROM CANADA.
(Published by Cyberwit.net, 2007, ISBN 978-81-8253-089-8, 124 pages, paperback, CAN$15)
Legacy (Selected Poems) is another breath of fresh air from an emerging poetic force from Canada. Yes, Barbara Elizabeth Mercer is a ‘force to be reckoned with’ – confidently presenting a strong voice, with original style, unwavering and persistent ... and from the looks of things, this author is just getting started. So look out!
I am often asked what I look for in books that I review, or consider reviewing. As I have written elsewhere, I look for many qualities including: evenness in quality, diversity in content and form, artistic intent, planning, execution and polish (the degree of polish being both intentional and commensurate with the desired expression), and an overall concept of the book as a complete work of art – beyond an arbitrary “stew” of individual poems. In addition, I pay attention to the author’s sense of originality, political and social awareness, mastery of storytelling, and visual, musical and philosophical expressions indicative of the author’s experiential personal history. I further look for: balance of intellectual rationalism and emotional presence, a solid command of the full palette of language(s) used, descriptive colour, clarity, intentional usage of abstractions, entertainment and theatrical/performance value, humour and occasional irony, and an overall sense of when to use poetic economy versus poetic rapture. And finally I am concerned that the author has an understanding of how to arouse within the reader a sense of personal identification, emotion and engagement – enabling the reader’s ‘inner artist’ to enter into a creative cognitive dialogue with the author, and hopefully even to inspire the reader to embark upon his/her own creative process.
There are many poetic forms being used today, with many hybridisations. There exists both a sense that there are “no rules” anymore and, at the same time, there are some unspoken literary guidelines which determine the probability for successful literary communication – beyond the subjective, and personal taste. I believe that it is important for me as a reviewer to repeat what I look for from time to time.
And now for Barbara Elizabeth Mercer’s achievement in her latest book.
The author clearly shows an understanding and growing mastery of most of that which I look for as a reviewer. Especially impressive in her work is her ability to create a painter’s canvas, and at the same time to make music through her innate understanding of ‘modern’ internal poetic meter. It is apparent (to me) that while Mercer writes with intent and concept, that she also has learned how to avoid the pitfalls of overwriting and (in addition) how to effectively make use of the hidden glories of the intuitive process in creating works of art. This is something every artist must eventually learn, and I would imagine that Ms. Mercer’s career as a visual artist has afforded her much that she has transferred to poetry in that regard.
I see that she is working on many levels concurrently, which is reflected in her attention both to the entire poem, small groupings within each poem and individual lines – all working together like a well-oiled machine or a symphonic work that consistently sounds effortless – despite varying technical and expressive challenges that have to be addressed and solved while constructing a work of art. Barbara Mercer gives of herself personally and freely, always aware of the importance of communicating with the reader. While she does employ rhyme, she is careful not to let the rhyme dominate or determine her usage of language or the message/feeling/picture she is imparting and sharing.
I do find the insistent initial caps at the beginning of each line of poetry a bit distracting, but Ms. Mercer is consistent in regards to this practice throughout the book. Sometimes the initial caps seem logical, and sometimes almost mechanical.
However, this is a minor criticism and is a matter of taste. Rules of punctuation and format in modern poetry are more or less subjective at this point, but these personal decisions can affect the readers’ experience.
This is a book that is perhaps best read in small portions, savouring each poem one at a time instead of quickly gulping down the entire book in one intensive reading. This because Barbara E. Mercer has so carefully tailored her verse to reveal new discoveries upon each reading, and because each poem is so full of imagery and cause for reflection that both the poems and the reader deserve time and several readings for true dialogue and creative (literal and subjective) comprehension.
I will conclude with one poem by Ms. Mercer, to illustrate the above written commentary:
Spring Dawn
Spring spreading lusciously
Dawn’s gifts
Sun turning trees
To pink – rich pale pink
Clouds to violet
Light blue – turquoise
Soft green feathering
Buds budding
Pink victorian bricks
Gold splashed rooftops
Diamond gold window panes
Spreading brilliance
Over many facetted city
Birds – pink – gold – white carrara marble
Gliding joyously on spring air
First fragrance
Freshly cut grass
Breath in its healing scent
Intoxicating senses
With gladness of being alive
In this lusciously
Spreading spring
Dawn
I can only say: “Beautiful ... just beautiful.”
Literary criticism (2008) by Adam Donaldson Powell (based upon “Legacy”, published by Cyberwit.net, 2007, ISBN 978-81-8253-089-8, 124 pages, paperback, CAN$15)
BARBARA ELIZABETH MERCER (Canada) has written several individual poems which have been widely published in anthologies, and has also authored and co-authored several books, including: “Mystic Wills”, “Self Portrait” and “When Poets Collide”. Not surprising, Ms. Mercer is also a visual artist.
ADAM DONALDSON POWELL (Norway) is a literary critic and a multilingual author, writing in English, Spanish, French and Norwegian; and a professional visual artist. He has published six books (including collections of poetry, short stories and literary criticism) in the USA, Norway and India, as well as several short and longer works in international literary publications on several continents. He has previously authored theatrical works performed onstage, and he has (to-date) read his poetry at venues in New York City, Oslo (Norway), Buenos Aires and Kathmandu (Nepal).
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MARIE MAPPLEY
Through My Eyes: more than mere hero worship.
(Published by Cyberwit.net, 2007, ISBN 91-09415091004, 138 pages, paperback, US$15)
Through My Eyes is an excellent example of a work of fine literature that functions on many levels. It is not merely a personal tribute to Elvis Presley, but an historical and sociological poetic document – giving insight into one of the most widespread celebrity fan groups to be found today, but also containing voices of the author, the fans and Elvis himself, as well as many private and spiritual thoughts that make up and support the author’s personal reality. Through My Eyes is, as the author indicates in her modest title, her own account and vision ... but it is much more in that it both explores a modern archetype.
Mappley is careful not to present love of Elvis as a “cult” or a religion, but is quite adept at showing (through her verse) how, how much and why she and others hold this man in so high regard. Therefore, Through My Eyes is more than just a work of poetry – it is also a study a phenomenon: that of persons who revere a man that has inspired them, sung the musical poetry that still reverberates in their hearts, and who many aspire to mimic and follow even so many years after his death. That many believe that Elvis is still with us on the Earth is perhaps not so difficult to understand when reading Mappley’s book, because for them he is quite alive and living within them – through his music, his clothing and hairstyles, memorabilia, and even pilgrimages to Graceland.
Most readers have (by now) understood that I have great expectations of poetry in general, and tightly constructed rhyming verse in particular. Here Marie Mappley has so cleverly expressed her thoughts and questions, has organised the sequence of poems so well and has identified her audience so clearly (both Elvis fans specifically and those curious about learning more about “the King” and his followers) that the verse rolls naturally off the tongue and in recesses of the right brain, also sparking creativity and engagement in the reader. The rhyming, musical style is appropriate here – further supporting the theme of the book: the music and the musician as a modern day archetype.
Through My Eyes is original, straightforward, well conceived, well planned, and well executed. It is refreshing to read a book of poetry that combines poetic craftsmanship with successful expression of the author’s feelings about a particular theme – a theme that has given her a reason to write ... beyond a mere love of poetry. That gives the artistic work life, passion, power and credibility.
Literary criticism (2008) by Adam Donaldson Powell (based upon “Through My Eyes”, published by Cyberwit.net, 2007, ISBN 91-09415091004, 138 pages, paperback, US$15)
MARIE MAPPLEY (UK) makes her debut as a poetry book author with this collection of poems.
ADAM DONALDSON POWELL (Norway) is a literary critic and a multilingual author, writing in English, Spanish, French and Norwegian; and a professional visual artist. He has published six books (including collections of poetry, short stories and literary criticism) in the USA, Norway and India, as well as several short and longer works in international literary publications on several continents. He has previously authored theatrical works performed onstage, and he has (to-date) read his poetry at venues in New York City, Oslo (Norway), Buenos Aires and Kathmandu (Nepal)
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ROBERT M. WILSON
All, At Once: trick or treat?
(Published by Cyberwit.net, 2006, ISBN 81-8253-070-9, 103 pages, paperback, US$15)
All, At Once is commendable because of its breadth of subject matter, poetic styles and ambitiousness. Wilson effectively employs storytelling techniques and commentaries regarding questions and issues of philosophy, spirituality, social consciousness etc. in a variety of contexts. This is the kind of poetry book that can be randomly opened and read (either to oneself or aloud for another), rather than necessarily read cover-to-cover, in paginated order.
Robert M. Wilson has a gift for humour and a musical poetic voice. However, there are some literary issues I would address. Rhyming poetry can sometimes overemphasise the humorous, at times belabouring verse with a sing-song quality that detracts from the intensity of the work. Likewise, the usage of repetition in general, and uneven internal poetic meter in rhyming poetry can – when the craftsmanship is not top notch – take away from the natural music in the poem.
A brief explanation of what I mean here: for me, meter in poetry is much more than counting and matching the number of syllables. There exists also an internal poetic meter which is natural and free flowing at its best. When this natural internal poetic meter gives way to the mathematical it can sometimes feel non-poetic or even forced.
Sometimes we desire a three-legged halting feeling, but this should be thought through and employed carefully and intentionally. I suspect that there is a bit of a songwriter in Wilson, and he is probably (or could be) a good one. However, I do not personally consider all song-writing to be fine literature.
That being said, there are many fine works in All, At Once, and the title is quite apt. Wilson has also written a poem entitled “Trick or treat?”, which I have found appropriate enough to include in the title of this literary criticism. This because of the many true gems that are mixed together with a few works that perhaps are not quite on the same literary level as the best of his poetic works in this collection of poems. I find the most effective of Wilson’s poems to be those that tell a story, his expressions of sensuality and his social commentaries, and other works where he simply tells it like it is – using free verse. I do appreciate the fact that Wilson is not afraid to experiment or to vary his style.
Literary criticism (2008) by Adam Donaldson Powell (based upon “All, At Once”, published by Cyberwit.net, 2006, ISBN 81-8253-070-9, 103 pages, paperback, US$15)
ROBERT M. WILSON (USA) has written three chapbooks of aphorisms and five books of poetry.
ADAM DONALDSON POWELL (Norway) is a literary critic and a multilingual author, writing in English, Spanish, French and Norwegian; and a professional visual artist. He has published six books (including collections of poetry, short stories and literary criticism) in the USA, Norway and India, as well as several short and longer works in international literary publications on several continents. He has previously authored theatrical works performed onstage, and he has (to-date) read his poetry at venues in New York City, Oslo (Norway), Buenos Aires and Kathmandu (Nepal).
(photo at top of page by Adam Donaldson Powell; all other photo portraits courtesy of the authors.)
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