Among the Monarchs

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Overview

In poems of haunting lyricism, and in a voice wholly unlike any other American poet, Christine Garren's second book of poetry explores common themes such as love, loss, and family with an uncommon sensibility. Among the Monarchs is filled with unforgettable metaphors, unconventional and unpredictable juxtapositions, turns and angles of perception, and seductive free verse rhythms. Through all of this, Garren captivates readers in a unique exploration of the nature of desire, the raptures and burdens of love and loss, the peculiarities of family life and, perhaps most compelling, the power of poetic imagination to shape what we see and feel. At once engaging and disquieting, Among the ...

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Overview

In poems of haunting lyricism, and in a voice wholly unlike any other American poet, Christine Garren's second book of poetry explores common themes such as love, loss, and family with an uncommon sensibility. Among the Monarchs is filled with unforgettable metaphors, unconventional and unpredictable juxtapositions, turns and angles of perception, and seductive free verse rhythms. Through all of this, Garren captivates readers in a unique exploration of the nature of desire, the raptures and burdens of love and loss, the peculiarities of family life and, perhaps most compelling, the power of poetic imagination to shape what we see and feel. At once engaging and disquieting, Among the Monarchs attests to the inexhaustible possibilities of lyric poetry.

Editorial Reviews

Publishers Weekly
Confessionalism meets the enigmatic juxtapositions of the prose poem in this second book by Garren (Afterworld) in this series of abstractly titled ("Analyst," "Family," "Figure and Ground," etc.), clinically detached vignettes. Each prosily long-lined poem--none shorter than seven lines or longer than 13--approaches a memory or occurrence obliquely, with a relentless understatement: "I think about her all the time,/ partly in disbelief, partly because she is my mother. But now it's dusk." "My love for him? It was like the stone/ I saw the cashier wearing once. On a braided rope." "I walked everyday. And then one time a figure appeared, at one of the doors, waving, under the awning./ And I waved back with my life." Perceptions of natural objects and forces modulate into descriptions of familial and erotic relations. "The Bride," for instance, presents a speaker who while waiting "for a long time" encounters an "animal" who dies: "there were no maggots. Just grass and the wind. A purity you can't imagine./ And still won't you come here with me?/ When I keep smoothing out a place beside me on the granite bench?" Similarly, "Family" charts the movement from a "world [that] felt like someone else's art" to an anti-climactic uprising in which the speaker and her brother become "king and queen of the abyss" of their troubled nuclear family. The speaker's abuse, institutionalization, abortion, recovery, familial estrangement and marriage are variously evoked. The pieces are well-structured, and produce their effects with a sometimes grim efficiency. But, if overly mannered, they also leave room for a hard-won humor, and for discovery, which is often enough to win indulgence. (Sept.) Copyright 2000 Cahners Business Information.
Kirkus Reviews
Garren's is a clear and unique voice, a rarity among university-sanctioned poets today. Her work is direct, sparse without being dry, and forceful without being obnoxious. While there may be little to distinguish the free-verse style of these short poems from their prose counterparts—prose poems, that is—in terms of rhythm and meter, Garren has a good ear. She accomplishes what most writers in prose or verse find so difficult to do: draw their images, present their impressions, tell their story, and then get the hell out of the way. Garren has a perfect sense of when it's time to go home. Lurking within, as well as between, the lines of these tight poems are evocations of place and mood, and the suggestion that a story is unfolding. Whether what takes place is actual or imagined makes no difference because the true event is the burst of insight that transpires between poet and reader. One of the delightful aspects of Garren's work is the hungry pack of associations she gleefully unleashes and then deftly reins in. In "Sulfur," she evokes the stillness of a summer evening by mentioning first the "crickets in the black air," and then describing her mother, in the next room, lighting a cigarette. "I hear her draw the match across the book." And by then, of course, one can even smell sulfur. Dense poems, not thick: the only wasted space is in the margins.Hill, Geoffrey SPEECH! SPEECH! Counterpoint (80 pp.) Nov. 1, 2000

Product Details

  • ISBN-13: 9780226284118
  • Publisher: University of Chicago Press
  • Publication date: 10/28/2000
  • Edition description: 1
  • Pages: 49
  • Series: Phoenix Poets Series
  • Product dimensions: 6.50 (w) x 8.50 (h) x 0.20 (d)

Meet the Author

Christine Garren received her B.A. and M.F.A. from the University of North Carolina, Greensboro. Her first book of poems, Afterworld, also in the Phoenix Poets series, was a finalist for the Los Angeles Times Book Prize for poetry.

Table of Contents

Acknowledgments ix
Childhood 1
The Bride 2
Early Memory 3
First Time 4
312 5
Love 6
Picnic 7
Monarchs 8
The Analyst 9
The Calf 10
The Skaters 11
Family 12
The Cemetery 13
The Underpass 14
First Love 15
Tristia 16
Solitaire 17
Sulfur 18
An Account 19
The Tenant 20
Noon 21
A Doll's House 22
Picnic 23
The Biopsy 24
Cedar 25
The Kite 26
The Newlyweds 27
Small Things 28
Paperweight 29
Landscapes before Surgery 30
The Wolves 31
In the Garden 32
Figure and Ground 33
Janus 34
The Swan 35
Tree-line 36
Trout 37
The Daydream 38
Solitaire 39
Fortunes 40
The Student 41
Picnic 42
Courtship 43
Apartment Complex 44
The Ruins 45
Warehouse 46
The Exercise 47
The Laboratory 48
Cake 49

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