Reviewed by: The Mother/Child Papers and The Book of Seventy Jennifer Burd (bio) Alicia Ostriker ; The Mother/Child Papers and The Book of Seventy (University of Pittsburgh Press, 2009) Now in her early seventies, poet Alicia Ostriker has two recent literary achievements to celebrate: the publication of her new book of poems, The Book of Seventy, from University of Pittsburgh Press, and the reissue of her 1980 poetry collection, The Mother/Child Papers, with a new preface by the author, also from Pittsburgh. Both were released in 2009. I first discovered Ostriker's work in the 1980s with my now dog-eared copy of Woman Under the Surface (Princeton, 1984). Now reading The Mother/Child Papers for the first time, a book in which the poet sculpts in familiar themes of women's strength, the joys and frustrations of parenthood, and shock and outrage over war and the destruction of the natural environment, I find myself delighting in the range of Ostriker's voice. To get at different sides of the personas in the poems, Ostriker uses more fluid forms than she does in much of her other work-forms that are like changing weather, with each reading likely to bring up new associations. For example, the pieces in the book's second section ("Mother/Child") alternate between the voice of a mother and that of her [End Page 116] child, nicely capturing the differences-the mother poems using less white space and more description, and the child's using more elliptical white space that dances around the words. However, in one poem in which the mother persona slips into her own "inner child" to express her feeling of being overtaken by her baby's neediness, her lines are spaced similarly to the child's: Click for larger view View full resolution Incubus. Leech. Scream. You confine me. Die. As many Ostriker devotees will know, throughout The Mother/Child Papers, the author weaves in themes touching on freedom and restriction, fear and compassion, domination and self-expression. In her preface to the book, she talks about how some of the poems were initially inspired by the thought that she was bringing a son into the world during a time of war (1970). The birth-a traumatic one for her in which she was drugged against her wishes-followed by a few days the U.S. military invasion of Cambodia and the shooting of four students at Kent State University by national guardsmen. The first section of the book, a poetic prose collage titled "Cambodia," effectively sets up a comparison between the military invasion of a country and the patriarchal, medical invasion of women's bodies and psyches. To capture my interest, what is typically labeled "political poetry" must still work first as poetry, a position with which Ostriker concurs: "Any poetry that is merely political-and nothing else-is shallow poetry," she writes in her book of essays, Dancing at the Devil's Party (2003, p. 8) In Ostriker's work, the "political" content reaches me precisely because the metaphors, line breaks, images, juxtapositions, and other thresholds of meaning move me to engage with the ideas the words convey. "I like to think that I love in political poetry whatever I love in poetry anyway," Ostriker writes, "Only I hope to be aware that 'whatever I love in poetry anyway' has, if I cut into it, a political dimension" (2003, p. 6). In The Book of Seventy, Ostriker embodies this idea by bringing the political down to the personal through her own continual becoming, at a fine level of detail that makes her poems sing. In many of the pieces, the author expresses the concerns of someone who sees the end of life drawing nearer, though we still sense the end for her is far off, as she feels the richness of life so fully. Using muscular rhythms, edgy line breaks, and sensual imagery, Ostriker infuses the poems with immediacy and ardor. And even when she occasionally draws on imagery traditionally suggestive of aging-"the fly buzzing on my windowsill" (from "Approaching Seventy"), autumn trees, and sunset for example-she embraces pain, loss, and beauty in unexpected ways. Her...
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