Well, I don't exactly have an unbiased view (the author happens to be my mother) but trying to speak objectively? It's brilliant.
Here's how I see it: there are three types of poetry. One is Shel Silverstein or Jack Prelutsky type stuff- witty rhymes that make you laugh out loud. Then there are these flowery ballads; folktales about maidens and minstrels in language lavishly decorated with twirls and flourishes.
And then there's this: the heart of it all. Just hard, lean, language with all the ruffles and lace cut away. That kind of poetry is the hardest to write because it's not a game, it's a message. And that kind of poetry is what my mother is a master of.
I would definitely absolutely positively recommend it.
It starts with a faraway sun and burnished leaves skittering across
a gravel road. I ask you to take my hand and stay. Tell me
how long will it take to come back from the sharp inhale
of rotted leaves, the stubbled fields, the garden of empty stalks?
- October, pg. 19
* * *
It used to be the body went to the graveyard.
Now the body stays where it's piloted and the prayers
waft overhead with the ashes of one and all.
- Kaddish on the Spot, pg. 32
* * *
When I think of the field in winter, I feel lost. I feel the first full moon of the new year sharpen its light against the cold. Razor-edged metallic blue, it's everywhere. Even in the warm room where I dream of escape, flailing in snow up to my hips.
- The Field in Winter, pg. 59
* * *
and with great care of the mind crawling through dust wanting a piece of solid ground just one step in a crumbling staircase