book review – Page 4 – Michigan Quarterly Review

book review

Hunger and Home: A Review of Dur e Aziz Amna’s American Fever

What of tomorrow? Perhaps if you imagine a moment long enough, it begins to exist outside of time. The chai is always pouring. The tree never dies. It is raining forever. In Dur e Aziz Amna’s gorgeous debut, American Fever, readers can expect to find all the hallmarks of a bumpy adolescence—destructive confidence, crippling self-doubt, steamy crushes, […]

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What of tomorrow? Perhaps if you imagine a moment long enough, it begins to exist outside of time. The chai is always pouring. The tree never dies. It is raining forever. In Dur e Aziz Amna’s gorgeous debut, American Fever, readers can expect to find all the hallmarks of a bumpy adolescence—destructive confidence, crippling self-doubt, steamy crushes,

Prayers and Incantations

            Roger Reeves’s second collection, Best Barbarian, confirms him as a remarkable poet. Reeves conjures poems in a language rooted in ancestral acknowledgment, metaphors, and rough tenderness, and finds balance within form while bringing the imperial spectrum of the ode and the elegy. The lines, the images, the terror, the joy, the beauty, and the horror cause the

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            Roger Reeves’s second collection, Best Barbarian, confirms him as a remarkable poet. Reeves conjures poems in a language rooted in ancestral acknowledgment, metaphors, and rough tenderness, and finds balance within form while bringing the imperial spectrum of the ode and the elegy. The lines, the images, the terror, the joy, the beauty, and the horror cause the

A Poetics of Incompletion: Baudelaire’s Late Fragments

“What the mind creates is more alive than matter” – Charles Baudelaire, Flares This isolated phrase, the third entry in Charles Baudelaire’s aphoristic, incomplete collection Flares, takes on a new meaning in the context of a reader’s approach to this new translation of and introduction to Baudelaire’s late work undertaken by Richard Sieburth and forthcoming from Yale

A Poetics of Incompletion: Baudelaire’s Late Fragments Read More »

“What the mind creates is more alive than matter” – Charles Baudelaire, Flares This isolated phrase, the third entry in Charles Baudelaire’s aphoristic, incomplete collection Flares, takes on a new meaning in the context of a reader’s approach to this new translation of and introduction to Baudelaire’s late work undertaken by Richard Sieburth and forthcoming from Yale

Diagnosis and Knowing: Sarah Fay’s Pathological

In Sarah Fay’s harrowing medical memoir, diagnosis is revealed to be particularly perverse: it simultaneously offers vital access to treatment and care but also becomes a “self-fulfilling prophecy” that cruelly entraps and reduces lives to diagnostic categories. Having been diagnosed with six separate conditions (anorexia, major depressive disorder, anxiety disorder, attention deficit hyperactivity disorder, obsessive-compulsive

Diagnosis and Knowing: Sarah Fay’s Pathological Read More »

In Sarah Fay’s harrowing medical memoir, diagnosis is revealed to be particularly perverse: it simultaneously offers vital access to treatment and care but also becomes a “self-fulfilling prophecy” that cruelly entraps and reduces lives to diagnostic categories. Having been diagnosed with six separate conditions (anorexia, major depressive disorder, anxiety disorder, attention deficit hyperactivity disorder, obsessive-compulsive

The Laying of Hands: Tom Sleigh’s The King’s Touch

Tom Sleigh’s latest poetry collection, The King’s Touch, contains multitudes. It’s not a terribly long book—116 pages including section break pages, notes, and acknowledgements, in line with the average length of full-length poetry collections—but there is a lot between its covers.1  The work is split into four sections, the fourth of which only contains four poems; the collection starts with

The Laying of Hands: Tom Sleigh’s The King’s Touch Read More »

Tom Sleigh’s latest poetry collection, The King’s Touch, contains multitudes. It’s not a terribly long book—116 pages including section break pages, notes, and acknowledgements, in line with the average length of full-length poetry collections—but there is a lot between its covers.1  The work is split into four sections, the fourth of which only contains four poems; the collection starts with

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