Stephen Page's 2016 poetic collection, A Ranch Bordering the Salty River, which was published by Finishing Line Press, is a verse novel really. His ballad like descriptions take place in South America, in Argentina to be exact, and convey the dreamlike stories of his characters, rancher Jonathan, and his wife Teresa. Page's poetic style is compact, but detailed. Through his well executed stanzas, his readers are invited to explore Jonathan's hard edged, working world.
Lamar Neal's We All Need Therapy, published in 2019, is a passionate collection dripping with sarcasm, rage and an immense sadness. It is also intensely ambitious at 174 pages long. There are so many calculated and intense pieces which are perfect in their delivery, but at the same time there are also so many in which the poet seems to be struggling to determine the perfect key for his voice.
Poetry is not confined to the house in this collection. It through streams and frolics among blueberry bushes. The intrinsic beauty and mysticism found in nature swells out from the cover of this poetry collection created by Elaine Reardon.
Opera houses may never be looked at in the same again. Anne-Adele Wight's Opera House Arterial, published in 2013 by BlazeVOX [books], is a work that will never be confused with anything else. The entire collection defies any strict labels of what poetry must be or act like.
Bill Cushing's Notes and Letters is an endearing little chapbook, and was published in 2016. Its contents range from observations of nature and odes to diners, to waxing on religious faith. The origin story of the entire collection, is perhaps, the most fascinating aspect of the work. Bill Cushing, the poet in question, knew Chuck Corbisiero when they were young, and lived in the same neighborhood in New York. Cushing was in a band, which would practice in Corbisiero's garage, though Corbisiero was not in this band at the time. But then they grew up, moved away. As luck would have it, these two men were able to reconnect many years later in Los Angeles.
Carol Anderheggen draws her the readers of her work inside her poetic world,"...this space called home...," where "there are no safe harbors / only life rafts / here and there..." In her 2017 poetry collection Born-child, published by Finishing Line Press, Anderheggen explores the depths of internal consternation that can be found in a child of adoption. In this particular work, "home" is not depicted in its traditional sense as comforting or warm. The feelings of comfort and happiness are instead found emanating from the natural world, "in the marsh," "...the child rises, / touches the earth goodbye..." and is able to find a bliss which lets her "...believe for an instant / that there were not / wolves at my doorstep..."