Daylily called it a dangerous moment

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Title:

Daylily called it a dangerous moment

Author:

Lynch, Alessandra, 1965- author.

Uniform Title:

Poems. Selections

ISBN:

9781938584657

Physical Description:

101 pages ; 23 cm

Subject Term:

American poetry -- 21st century.

Poetry -- 21st century.

Summary:

""With a music prowess both deft and ferocious, these empathetic poems in Daylily Called It a Dangerous Moment woe and terrify simultaneously. Terrible things happen in this book and it's wonderful-such is the redemptive power of poetry this exquisite."--Dean Young This heart-wrenching book examines the tensions between the harshness of violence and the beauty of everyday life. There is a discourse with the wreckage in these poems that infiltrate life after trauma and violence as it perpetuates onward, pulling us into the speaker's domain and the endless cycle of attempting to overcome-without forgetting- the past. Alessandra Lynch is also the author of Sails the Wind Left Behind and It was a terrible cloud at twilight. Her work has appeared in the American Poetry Review, Antioch Review, The Colorado Review, The Cortland Review, The Massachusetts Review, Ploughshares, and other literary journals. Alessandra was born on the East River and now lives with her husband and sons by a stony creek, two hackberry trees, and a magnolia trio. She teaches in Butler University's undergraduate and MFA programs"--

Holds:

Available:*

Library	Call Number	Status
Searching... Hardwood Creek Library (Forest Lake)	811.6 LYN	Searching... Unknown
Searching... R.H. Stafford Library (Woodbury)	811.6 LYN	Searching... Unknown

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Summary

"With a music prowess both deft and ferocious, these empathetic poems in Daylily Called It a Dangerous Moment woe and terrify simultaneously. Terrible things happen in this book and it's wonderful--such is the redemptive power of poetry this exquisite."--Dean Young

This heart-wrenching book examines the tensions between the harshness of violence and the beauty of everyday life. There is a discourse with the wreckage in these poems that infiltrate life after trauma and violence as it perpetuates onward, pulling us into the speaker's domain and the endless cycle of attempting to overcome--without forgetting--the past.

Alessandra Lynch is also the author of Sails the Wind Left Behind and It was a terrible cloud at twilight . Her work has appeared in the American Poetry Review, Antioch Review, The Colorado Review, The Cortland Review, The Massachusetts Review, Ploughshares, and other literary journals. Alessandra was born on the East River and now lives with her husband and sons by a stony creek, two hackberry trees, and a magnolia trio. She teaches in Butler University's undergraduate and MFA programs.

Author Notes

Alessandra Lynch is also the author of Sails the Wind Left Behind and It was a terrible cloud at twilight. Her work has appeared in the American Poetry Review, Antioch Review, The Colorado Review, The Cortland Review, The Massachusetts Review, Ploughshares, and other literary journals. Alessandra was born on the East River and now lives with her husband and sons by a stony creek, two hackberry trees, and a magnolia trio. She teaches in Butler University's undergraduate and MFA programs.

Reviews (2)

Publisher's Weekly Review

In her harrowing third collection, Lynch (It Was a Terrible Cloud at Twilight) exhibits a steely bravery as she teases out the workings of the ecosystem of trauma. "The way to steady what unsteadied me/ was transformation:/ gash to star, wound to window," Lynch writes, noting how for victims of sexual assault the crime scenes are their own bodies. Such an experience remains a part of them: "It hangs and hangs and hangs-/ not bell, not noose.// A case of walking paralysis." Lynch writes, "There is a way the body weds memory-/ a marriage like that of a planet to light." In several poems she describes a desire to unburden a body of its imprinted experience by willing the self to become "a vanished thing" or "aftersmoke-the eke of light in the marrow." She also records an incident of post-trauma disembodiment: "the girl it happened to crawled out// of my body/ straight into the grass that bordered the lot/ where she lay face-up, a cloth/ doll." As Lynch guides readers through these painful episodes, she retakes ownership of her body, sense of intimacy, and ability to bear witness: "It was not until the body/ floated off, incandescent, weak with want,/ that I thought to move towards it." (June) © Copyright PWxyz, LLC. All rights reserved.

Library Journal Review

In hushed language that's forthright, luminous, and never sensational, Lynch (Sails the Wind Left Behind) makes us feel the shock and enduring aftermath of her rape, that awful, violent moment with "mr. anonymous/ who coaxes & spends you & swings you by another name." She revisits that moment again and again, ever freshly, revealing herself as a "moonlit horse," harnessed or with "a knife pressed into her flank," as a wall and shelves as that knife sharply screws. Afterward, she's the "absent-me," with "Memory: like air/ I walk through and/ disappear," finding the most mundane things taking on dark new meaning (panties are "frillishly dizzy" but also a "bandage or wing"), though the world can be a beautiful place, it's rimmed with danger ("bleeding berries on the nettle-hill"). In the end, Lynch learns that she cannot control and cannot forget but attains a half-peace, some redemption. VERDICT Highly recommended. © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Summary

Summary

Author Notes

Reviews (2)

Publisher's Weekly Review

Library Journal Review

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