There's a lot of fire at work in Joan Larkin's first book "Housework." There's the grandmother's burnt hands in "Rhyme of My Inheritance," the gas jet under the kettle in "Cautionary," Kathryn's "fiery" hair in "Warning," the blackened pot in "Two True Stories," the spontaneous combustion that ends "Revolutionary Practices," and the "smoke-stench" in a subway station in the poem "Notations--The F Train." Heck, there's even a poem titled "The Fire." That makes sense. That's as it should be. Because the verses in this early Larkin collection are fueled by passion and rage, desire and bright, stinging flashes of illumination. Lust isn't always reciprocated. (Is it ever?) Pain doesn't always find a sympathetic ear. (Would that it could!) But in Larkin's poetry, the truth never falters. Nor does the rhythm. As for the rhyme, "Housework" reminds me of how powerful introducing such sonics and then purposefully abandoning them can be. Her hilarious "'Vagina' Sonnet" may conform to the 14-line stanza but it hasn't a single end rhyme in it. I wouldn't have it any other way. This book is hot, lit, choose your own fire image.
I read this book when I studied with Joan Larkin at Brooklyn College in the 80s, she signed my copy. She is a terrific writer, a leader in fighting for the rights of all people, and bringing the poems of lesbians into the world. She is a fine poet and it was a great honor to study with her.
Some of the poems in here were a bit clunky-- playing with repetition, but not quite in a way that worked. It seemed more like Larkin forgot to put in a rhyme than a play on rhythm, in some places. Where she let loose from those sorts of structural patterns altogether though the works truly shined.
"Dear uncledaddy,/ tell me how you like/ your kitchen, your silk mesh/ your anything--/ let me know when/ you're ready,/ what you'll give me."