With Robert Herrick and Lightnin' Hopkins as her guides, Jennifer Moxley records in these bold new poems midlife's little losses, the subtle joys of a sweet marriage, and the give-and-take of the poet's vocation. Direct in speech, full of wit and erotic exuberance, and never refusing the temptations of a double entendre, Druthers reassesses the purpose and pleasures of poetry. While navigating her way out of "deep blues and dark woods," Moxley has written some of her most masterful work yet.
This moment trumps a thousandfold Those chubby maiden days Courting gloomy moodiness Beneath Parisian gray. And though I never tarried, My rose was often plucked, To tell it I was weary No matter who I fucked.
from Blue Chirp
Just because something is popular doesn't necessarily make it bad. Topping salads, toasts, and pastas with a cheery egg, fried or poached, though all the rage, is irresistible and inexpensive, a fashion that channels our nostalgia for old diners and "breakfast served all day."
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The classics are bossy and know their mind. "A dry hamburger is not acceptable" (Marion Cunningham), "Pour this over the fish and rush it to the table. Not a dish to be kept hanging around" (Jane Grigson).
I like this probably just barely a notch less than Moxley's recent two books, Clampdown and The Open Secret, but all three are the books of Jennifer Moxley's mastery, and there are things to admire, the aphorisms, the votary poems to the orders of poetry, and best of all her essay on cooking, "The Honest Cook's Insomnia," that seems to be a fully achieved thing. You recall in moments that Moxley has her orders. The whole collection is taken up in pride of its being a minor literary performance. It is quite explicit about this, in case anyone's -- and no, we weren't -- asking. It's worth a question whether the local finds its substitution in the votary, as well as the formal. I'm in her sway as much as anyone, I'd gather.