National Poetry – serie

In his debut collection, Colin Cheney maps an American landscape of New York rooftop gardens, occupied Iraq, and crumbling New England farms. In poems inhabited by Charles Darwin and climate scientists, Beethoven and Elliott Smith, the reader finds a way to navigate the beauty and fears native to modern life. One sees in Cheney’s poetry the convergence of the urban and the natural and the ways in which the two inhabit each other—an uneasy coexistence at best, but the only kind possible.Pollination and endangerment loom large in Here Be Monsters, as do the binaries of creation and destruction. A whale dies trapped under a bridge; bees kept in rooftop gardens lose their way; a friend stricken by malaria is taken to an urban hospital that doesn’t recognize the disease; a woman cremates her beloved dog in her pottery kiln and finds, the next morning, two perfect clay lungs among the ashes. In his poems Cheney explores the various types of damage with which humans are so closely entwined, including our encroachment on nature, our propensity to give in to our worst impulses, and the havoc that our cells can wreak on our own bodies.

Lindsay Bernal’s What It Doesn’t Have to Do With explores through sculpture, painting, pornography, and performance art changing views on gender and sexuality. The elegiac meditations throughout this collection link the objectification of women in art and life to personal narratives of heartbreak, urban estrangement, and suicide. Haunted by the notions of femininity and domesticity, the protagonist struggles to define the self in shifting cultural landscapes. Ezra Pound, Louise Bourgeois, and Morrissey coexist within the unruly, feminist imagination of these poems. Through quick turns and juxtapositions, Lindsay Bernal navigates the paradoxical states of grief and love, alternating between vulnerability and irony, despair and humor. Her wry, contemporary voice confronts serious subjects with unpredictable wit.