Longlisted, 2026 PEN Open Book Award Featured in Poetry Daily's Best Poems of 2025 Winner, 2024 Donald Hall Prize for Poetry
Part elegy, part poetry of witness, and part poetry of exile, No Rhododendron is a lament to the poet-speaker’s father and fatherland and a grief-wrought love letter to his mother and mother tongue. The collection is haunted by an existential question about Shertok’s oral mother tongue, How do you write about a language that has no script? Exploring the erasure, ambiguity, multiplicity, violence, and unknowability signified by “X,” the poems dwell on the lip of a new ghost language, which ultimately fails itself. The polyphonal witnessing of the decade-long Maoist conflict in his native Nepal from schoolchildren’s perspective reveals how a war can fracture the psyche of an entire generation. The final thread of the book, a “reverse-elegy” for his mother, meditates on the impending loss of a loved one as a potential site of mourning, impermanence, gratitude, memory-making, and mythopoeticism.
The thing I liked most about the book was the connection to heritage. The strongest pieces to me were the pieces in which language was being discussed. however, I did feel a lot of the poetry sort of slips by inconsequentially. I always want poetry to have a lasting impact, to be able to recall specific lines and imagery, but I feel I can't do that with this collection.