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Phenomena Poems
Book by Hankla, Cathryn
- GenresPoetry
Paperback
First published March 1, 1983
4 people want to read
About the author
Cathryn Hankla
22 books9 followersBorn in the Appalachian Mountains of Virginia, Cathryn Hankla has authored over a dozen books, including Galaxies and Great Bear (one of three finalists for the Library of Virginia Prize); Fortune Teller Miracle Fish; A Blue Moon in Poorwater; and, coming in April, a memoir in essays, Lost Places: On Losing and Finding Home.
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Displaying 1 of 1 review
October 28, 2009
I wanted to like her book so much more than I did; the poems that I liked, I really liked, and I see so much potential. However, the book slowed and lurched its way through, often stepping backwards in the process. Her imagery is well-constructed, but dizzy, sometimes leading down into a dead-end or back where it started. Perhaps I'm so hard on it because I could see how much better it could be and was so entranced by her other poems. I only want her to be at her best and would be interested in reading more of her poems.
She relies heavily on nature in her book, but moves around and doesn't get complacent with one scenery, which I liked. The reader wasn't forever stranded in the snow, or quietly walking down an autumn path - she mixed up the different faces of nature, showing that nature itself is a character falling into its old habits, still beautiful, but sometimes cruel.
Although the beginning and end are strong, stable foundations, the middle really sagged, not quite falling through, but noticeable. Another pet peeve that is a constant style throughout the book (which was avoidable at first, but increasingly annoying) was her echoing: "Sing simple/rain; singing darkness; sing" and "You have seen yourself/in the dream, dreamer and dreamed".
Some notes:
"A Tunnel to the Moon" kicked it off and it's chaotic, disconnected, but somehow she makes it work: "It is the instant of an eye drawn back,/the second you would have kissed off-camera/had the reel not split" and "You are bending down, getting under white cotton socks, you are/finding false angel wings./It is like hearing an airplane touch down,/or your first sudden notice of spring."
I found that style in the same vein as Jerome Rothenberg and although it's not my favorite, it's hard to dislike and admire. "Paradox of Gravity" continues the style.
"The Water is the Skin of the River" was a little less inventive, and "Answering the Past" was heartfelt, but sometimes pushed too hard ("white crumble of guilt to cut/my palms" and "the picture/of who I am, dressed in the color of air."
"Swift Current" was very emotional and empowering, especially at the end with the simple, but fantastic line: "Everything in the world with be wrong/except your heart."
"The Dark" was a delicious poem, except for the stiff and awkward first line "The dark lets you walk where you would not walk". I think that "My Friend Who's Afraid of the Dark" is her strongest length and style.
"Nothing is Obvious" was fantastic, using the over-used image of the magician ("The magician/holds one cupped, puckers the cloth in his palm./Pulls the bird from the air"), but pushes him back into the spotlight with all new tricks, "He keeps feathers to construct/another bird."
"Walking in the Path of the Moon" was sweet and slow, a stroll into her soft words: "our language holds land on water; water/on air, air lifting lighter;/husband, wife. Each to each and linked/by touch."
The book started to slow, but "The Night Hunting" was gruesome, cold, and very much needed. Very well-consructed and perfect.
"A Moment of Violence" was very enjoyable and "So Lightly She Must Be Air" pulled me back in when I was getting bored: "Her memory/is rivulose, going round with lists,/a roulette of the ancient."
"The Fate of Making" was in a few parts. The first part sounded really pretentious and mentioned a variation of "dream" six times (way too much for me). The second part was WAY better and was more powerful. The fourth part was disturbing, haunting and amazing: "Driving, the blade seperates/her ribs, reaches as far/ as his arm can go. He keeps/his eyes on the dotted road." The fifth had a unique rhythm. The sixth was incredible with a sad mix of science, astrology, and longing.
"Easter" was one of her best, "it froze at once, so foreign/was its blood - pure liquid, a clear spring/ with the taste of rain."
With that, it suddenly became *amazing* and good poems were a constant flow. Unfortunately, it didn't last for the rest of the book.
Bottomline: I'm interested in some of her newer works because I like what she can do...just not all that she does.
She relies heavily on nature in her book, but moves around and doesn't get complacent with one scenery, which I liked. The reader wasn't forever stranded in the snow, or quietly walking down an autumn path - she mixed up the different faces of nature, showing that nature itself is a character falling into its old habits, still beautiful, but sometimes cruel.
Although the beginning and end are strong, stable foundations, the middle really sagged, not quite falling through, but noticeable. Another pet peeve that is a constant style throughout the book (which was avoidable at first, but increasingly annoying) was her echoing: "Sing simple/rain; singing darkness; sing" and "You have seen yourself/in the dream, dreamer and dreamed".
Some notes:
"A Tunnel to the Moon" kicked it off and it's chaotic, disconnected, but somehow she makes it work: "It is the instant of an eye drawn back,/the second you would have kissed off-camera/had the reel not split" and "You are bending down, getting under white cotton socks, you are/finding false angel wings./It is like hearing an airplane touch down,/or your first sudden notice of spring."
I found that style in the same vein as Jerome Rothenberg and although it's not my favorite, it's hard to dislike and admire. "Paradox of Gravity" continues the style.
"The Water is the Skin of the River" was a little less inventive, and "Answering the Past" was heartfelt, but sometimes pushed too hard ("white crumble of guilt to cut/my palms" and "the picture/of who I am, dressed in the color of air."
"Swift Current" was very emotional and empowering, especially at the end with the simple, but fantastic line: "Everything in the world with be wrong/except your heart."
"The Dark" was a delicious poem, except for the stiff and awkward first line "The dark lets you walk where you would not walk". I think that "My Friend Who's Afraid of the Dark" is her strongest length and style.
"Nothing is Obvious" was fantastic, using the over-used image of the magician ("The magician/holds one cupped, puckers the cloth in his palm./Pulls the bird from the air"), but pushes him back into the spotlight with all new tricks, "He keeps feathers to construct/another bird."
"Walking in the Path of the Moon" was sweet and slow, a stroll into her soft words: "our language holds land on water; water/on air, air lifting lighter;/husband, wife. Each to each and linked/by touch."
The book started to slow, but "The Night Hunting" was gruesome, cold, and very much needed. Very well-consructed and perfect.
"A Moment of Violence" was very enjoyable and "So Lightly She Must Be Air" pulled me back in when I was getting bored: "Her memory/is rivulose, going round with lists,/a roulette of the ancient."
"The Fate of Making" was in a few parts. The first part sounded really pretentious and mentioned a variation of "dream" six times (way too much for me). The second part was WAY better and was more powerful. The fourth part was disturbing, haunting and amazing: "Driving, the blade seperates/her ribs, reaches as far/ as his arm can go. He keeps/his eyes on the dotted road." The fifth had a unique rhythm. The sixth was incredible with a sad mix of science, astrology, and longing.
"Easter" was one of her best, "it froze at once, so foreign/was its blood - pure liquid, a clear spring/ with the taste of rain."
With that, it suddenly became *amazing* and good poems were a constant flow. Unfortunately, it didn't last for the rest of the book.
Bottomline: I'm interested in some of her newer works because I like what she can do...just not all that she does.
Displaying 1 of 1 review