This new title is available on the Deerbrook Editions Website
Archaeology excavates the past in exquisite language. Its focus is family: Siegel’s own family and families far ourtside her personal sphere. Mothers and daughters especially come under her perceptive eye, three generations often missing each other in passing, sitting in silence, but also knitting together to create a skein of connection. These are poems of longing, loss and celebration, for what else to do when losing someone, but “sit with her all night and sing”? Animals, domestic and wild, move through these poems, both as their own mystery as a metaphor. Siegel knows that stillness is necessary for transformation–“a chamber for one/ where you disolve and grow /wings.” Though mostly serious and contemplative, she has moments of wry humanity and always “Peers at darkness through the bright eye of the world.”
—Mary Makofske, author of Traction and World Enough and Time.
Other praise for Joan’s poems
Siegel knows how to go for the small specific details that illuminate even the darkest subjects. —Maxine Kumin
The tactile, the visible and even the invisible become like avatars in Joan Siegel’s poems.
This is honestly one of the best and most enjoyable books of poetry I’ve ever read
— Michael Meyerhofer on February 13, 2017
As someone who cut his teeth on “eastern” verse, I’m no stranger to shorter poems. I’ve often heard it said that less time on stage means less can go wrong, i.e. shorter poems are somehow easier to write–an idea that I’ve always found ridiculous. With shorter poetry, there’s actually a lot more riding on every word, every syllable. But J.R. Solonche is more than up to the challenge. In this book, Solonche is sharing a lifetime of wit and experience, a whole library of bittersweet moments and insights–and all of it, free of pretension.
I can’t stress this enough: this is honestly one of the best and most enjoyable books of poetry I’ve ever read, and I’ve read thousands. This is also the rare sort of book that you could hand either to a factory worker or a gilded academic and both would be left speechless. The playfulness, humor, and accessibility of these poems blend so perfectly with the underlying brilliance and craft that these poems seem effortless, though they’re anything but. As I was reading this, I kept asking myself, “How is this poem NOT being taught in classrooms all around the world? And what about that one? And this one? And that one?!”
I used to teach a class on Zen poetry, where we frequently read stuff by the ancient Chinese poets, as well as contemporaries like Billy Collins, Kenneth Rexroth, etc. I wish I were still teaching that class because I can guarantee that this book would be a class favorite. It’s certainly a favorite of mine.
The author of Beautiful Day and Won’t Be Long, two recent books from Deerbrook Editions, has several poems in Poetry Atlas. Poetry Atlas is mapping the world in poetry. We collect and map all poems about places, whether by great poets, or by you.
Hemingway’s House, Key West
They wanted the tour they said
to be “a positive experience.”
So they don’t say how he died,
the muzzle of the shotgun
in his mouth, his brains all over
the walls of the house in Ketchum.
The cats are descended from his.
They are everywhere.
Many have six toes.
One night he got drunk, brought home
a urinal from Sloppy Joe’s
and made a water trough for them.
The best part is the studio.
That it isn’t in the house.
That it’s in the guesthouse where he’d go
to write The Green Hills
of Africa and A Farewell to Arms
and For Whom the Bell Tolls,
standing there beneath
the glass-eyed gaze of the antelope,
the eraser of the pencil in his teeth.
Beautiful Day by JR Solonche has delight and sorrow insights and more.