“A Collaborator in Alleys”
Review by Joey Madia
To mark the occasion of my tenth review of a poetry collection by the prolific and boundary-stretching poet Eileen Tabios, I knew I wanted to do something special—something that would honor Eileen’s ability to take the reader from a position of relative passivity to one of co-creation.
I made an attempt at this before, ending my review of Tabios’ Sumptuous Sculpture (Marsh Hawk Press, 2002) with a poem crafted from another one of my reviews (Reproductions of the Empty Flagpole, same publisher and year).
This review, however, takes things much further. Since beginning her ongoing work “Murder, Death, and Resurrection (MDR),” Eileen has created new poems and published seven books that use re-constituted lines from a database of 1,146 lines from her previous works. The Connoisseur of Alleys is one such work. Continue reading
Review by Paige Ambroziak
George R. R. Martin’s prose is fit for more than simple storytelling in this postmodern saga. I use the term postmodern in the sense that Martin is deliberately mixing different styles, but also his work seems self-conscious and respectful of earlier conventions. He has layered his narrative with myths and stories going as far back as antiquity, and though the medieval elements of the world he has built are evident, it is these earlier mythologies woven into the fabric of his characters that seem to tout his mastery at making a neo-medieval novel. Whether you’ve known about the series since the first book was released in 1996 or you discovered it with HBO’s Game of Thrones television series, the first installment of A Song of Ice and Fire has much to offer, and much to love, for any literary taste.
And this is why it is so wonderful. For even the snobbiest literary critic can’t deny that this work of genre fiction, or fantasy, or the more recent highbrow moniker speculative fiction is a novel for the new age. As verbose as this first book may seem (it clocks in at 298,000 words and is one of the shortest of the series), it is a festival of language and characters and settings that are mixed in such a manner as to take nothing away from the narrative. Continue reading
Review by Grady Harp
‘Without music, life would be a mistake’ – Friedrich Nietzsche
Now and then along comes a book that simply changes everything. STORIES OF MUSIC, of which this is Volume 1, is that kind of book, though ‘book’ would hardly define this heart work: this is a multimedia project that includes audio and video aspects of the physical, very handsome book that can be held in the lap for musing and with the little miracles of modern technology expand that reading experience spherically. Art, poetry, stories, songs, photography from around the world are gathered as a tribute to the influence of music in our lives.
STORIES OF MUSIC is the creation of Holly E. Tripp, a musician, freelance writer, editor, and marketing consultant based in Denver, Colorado who stepped from the corporate world to respond to her own memories of childhood and stories from her grandmother, realizing the impact music has had in her history. Continue reading
Review by Grady Harp
“Terrorism … The word that means nothing, yet justifies everything.” —Glenn Greenwald
Washington, DC author Arsalan Iftikhar presents his second book – his first ISLAMIC PACIFISM: Global Muslims in the Post Osama Era published in 2011. Now pesents a most timely new book – SCAPEGOATS: How Islamophobia Helps Our Enemies and Threatens Our Freedoms. Arsalan is an international human rights lawyer who according to NPRs Michael Martin has ‘become a go-to voice in American media, playing a variety of roles—explaining Islam, decrying Islamic extremism and also what he sees as rising islamophobia.’ Arsalan is also the founder of TheMuslimGuy.com, senior editor of The Islamic Monthly, and has spoken on the major media outlets. Continue reading
Review by Paige Ambroziak
Mary Shelley’s Frankenstein has long been a favorite of mine and every time I read it, I experience a thrill at the sublime, the weighty prose that makes white caps and glaciers stand full-size in my mind. Shelley’s ability to embody the male voice and lay it out with unabashed sentimentality, perhaps a feature of her romantic spirit, is enviable. She is a poet who writes her verse in prose, while indulging in a story that keeps her reader riveted.
I did not expect any less from The Last Man, though I was surprised at its wandering and staid narrative. It is an apocalyptic novel unlike those written today, for Mary Shelley does not envision a hellish doom brought about by zombies or artificial intelligence or totalitarian regimes or climatic revelations. The end of humanity is frightening enough, especially if a single person is left all alone. Shelley quietly and ever so slowly lures her reader down a road that follows her hero from love and abundance to a forlorn state of social destitution and emptiness. Continue reading