w > w 2 w P H < W H Q O which Eugene himself committed to forestallbeing inevitablyabandoned by her, too. In true postmodern fash ion, then, the novel ends metalepti callywith the madman seeking him self?a synecdoche for the insanely fragmented lives themodern world forces us all to live. ChristinaDokou Universityof Athens Verse LindaBierds.Flight:New and Selected Poems. New York. G. P. Putnam's Sons. 2008. x + 212 pages. $24.95. isbn978 0-399-15525-3 When Henry James urged a young writer to become "one of those on whom nothing is lost," he could have been describing Linda Bierds, whose precise, almost microscopic eye conveys images of uncanny, crystalline accuracy. She can pick out the "lacework of gull prints" on thedeck rail of a ship or, in a Victo rian photograph, "a glaze of amber earwax, / a leafof tobacco like ash on the beard." Bierds probes the fields of sensation until she pierces the illusion that any experience is too far away to see or understand. Bierds's latestbook, Flight:New and Selected Poems, surveys her seven previous collections and includes fifteen new poems, showcasing Bierds's distinctive poetic voice. Emerging with a mature style in 1988with The Stillness, the Dancing, and continuing through a distin guished career marked by a MacAr thur "genius" grant and many other awards, Bierds has remained faithful to her central themes, while each collection expands the range of her subject matter. That range is breathtaking. From prehistoric time to contem porary space travel, from theplains of Nebraska to Venetian canals, these poems bring to life a con stellation of exotic worlds. She not only describes, for example, an eighteenth-century wig form, but the "neck-shaped ring" of talc left behind when a boy picks itup. The stars, seen by an astronaut in deep space, lose their celestial glamour as they float "matte as wax pears." To discover a poem by Bierds is to enter an imagined world palpable with convincing detail thatconveys deep emotional and metaphorical resonance. Littlewonder, then, thatmany of Bierds's poems portray the elu sive rewards of observation itself. The series "Six in All," for example, tracks the fate ofMatthew Brady's photographic plates, some ofwhich end up as window panes in a green house, where his ghostly images tremble against the sky. She writes about such scientists as Van Leeu wenhoek, Marie Curie, and Gregor Mendel as well as visual artists? Rembrandt, Chagall, D?rer, and oth ers?for whom precise observation leads to aesthetic vision. Moments ofphysical duress and shattering violence occur frequently in her poetry, but within sight of death, Bierds will often include an image of enclosure. In "The Stillness, theDancing," Bierds introduces the remarkable image of a Neolithic skeleton of a woman who died in childbirth, the infant's skeleton still held in the "paddle and stem" of the mother's hips. Later, in "Mid-Plains Tornado," Bierds describes a mare whose six-week-old foal is embed ded in her side by a tornado, "her great folds of shining skin, / closed over the skull." Linda Bierds's new poems are dialogic, as in "Fragments from Ven ice," an epistolary exchange between Albrecht D?rer and a patron, and "Salvage/' a poem about an air plane crash, inwhich thevoice of a questioner alternates with the voice of a survivor, creating a haunting evocation of terror. As the ques tioner probes for the exact details of the survivor's experience, Bierds shows thatnaming the terrible with unflinching accuracy is an act of the highest intelligenceand courage. Mary Kaiser Jefferson StateCommunityCollege Ruxandra Cesereanu. Crusader Woman. Adam J. Sorkin with the author et al., tr. Boston. Black Widow. 2008. 124 pages. $18.95. isbn 978-0 9795137-5-6 While Ruxandra Cesereanu's "Only in despair can we keep and witness reality" seems to characterize?if not define?her poetic vision, the beginning and concluding poems of this collection, "Letter to American Poets" and the title poem, move beyond thewrenching, self-rending language of earlier poems like those in Lunacies (seeWLT, January 2005, iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiim 72 1 World Literature Today ^^^H ...
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