Beth Bachmann Cease University of Pittsburgh Press Beth Bachmann’s poems in this collection resound like echoes of the highly charged political and social environment that is today’s United States. Part manifesto, part residual accumulation of our national game of “telephone” that endlessly scurries across social media platforms, Cease is evocative in its descriptions, provocative in its conclusions , and as timely as the text crawl beneath your favorite talking head. Jim Barnes Sundown Explains Nothing: New and Selected Poems Stephen F. Austin State University Press Jim Barnes’s latest collection of poem represents a fascinating intersection between the importance of place, the influence of culture, and the inescapable coordinate of time in which we are all contexted. Powered by metaphors repurposed from his natural landscape and a wit made acerbic by the tenor of our times, Sundown Explains Nothing is a nutrient-dense volume that is best savored in small but powerful doses. Nota Bene fair. While there he seeks out an old artist friend, Mohammed, whom he hasn’t seen for thirty years. Mohammed is worried about one of his sons, who is in the United States trying to gain citizenship, and he asks Rubirosa to read the contents of a memory card that may offer clues about his son. The plot spirals from there. However, it’s not so much the plot that captivates as the hall-of-mirrors-like narrative allusions. Characters resemble figures from Rey Rosa’s empirical life (it’s not accidental, of course, that the protagonist is named “Rubiorosa”), and the city of Tangier takes on its own dreamlike quality. When Mohammed is introduced to us in the beginning, it’s hard not to think of him as Mohammed Mrabet. Then there is the American artist John Field, who has lived in Tangier for half his life. Field could be a caricature for Rey Rosa’s mentor and friend, Paul Bowles. The problem is that both Mrabet and Bowles make appearances in the story, further complicating possible readings of the novel. On the surface, this mash-up of the real and the imagined can be read as a game of intertextual dice-throwing, but in Rey Rosa’s narrative , it becomes a mechanism for witchcraft. Here everyone is not what they appear to be. In fact, they are all much more. The dreamlike quality of Chaos is linked to Rey Rosa’s life in the way that all fiction is linked to the life of the writer. But the danger is in the attempt to place an authoritative reading on the work, and this novel is careful not to demand that from its reader. Instead, we are left spinning in a world that both is and is not real, is and is not imagined. Rey Rosa’s true gift as a writer is to create magic from language, to create worlds that resemble the existence of numerous worlds simultaneously , in harmony and contradiction. This is perhaps most tellingly articulated by Mohammed in the very beginning of the novel when he states, “Time doesn’t exist anymore. . . . The world has gone mad.” Chaos: A Fable may not be Rey Rosa’s most accomplished work, but it’s an important tributary off the deep river that constitutes the work of a master storyteller. Andrew Martino Salisbury University Maria Matios Sweet Darusya: A Tale of Two Villages Trans. Michael M. Naydan & Olha Tytarenko. New York. Spuyten Duyvil. 2019. 224 pages. Maria Matios is an awardwinning contemporary Ukrainian author, widely known for her authentic writing style. She is currently residing in Kyiv, the capital of Ukraine, and has also been active on the political scene there since 2012. Her best literary work is Sweet Darusya, written in the early 2000s. Matios was born in the late 1950s in the Bukovyna WORLDLIT.ORG 91 Books in Review region, Ukraine. The region was torn, invaded, and occupied by various nations for centuries; hence its rich history. The Bukovyna region is now a part of an independent Ukraine, scattered on the luscious slopes of the eastern Carpathian Mountains—a beautiful country deeply rooted in tradition, religion, and folklore. Matios’s novel Sweet Darusya, initially published in Ukraine in 2003, has been...
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