These experiences and questions matter. They are, in fact, vital. I’m grateful for the way Zucker tends to them and the way this book tries to make space for something new.
As a writer, the tension Barbie creates is pure gold. Contemporary poets are all over it and have been for many years — taking everything that comes with this cultural icon and making it their own.
Heavy and beautiful. That’s my 3-word review of the anthology. It’s a thick volume full of gorgeous work, including poetry, criticism, cross-disciplinary texts and visual art. But “heavy and beautiful” also works for the challenges and themes the book aims to tackle.
LOVE LETTER TO WHO OWNS THE HEAVENS by COREY VAN LANDINGHAM / I’m grateful for art that sits with us in these times. Some of it consoles and gives hope, and that can be nice. But I’m just as grateful for art that continues to provoke, that insists on further interrogation, like Love Letter to Who Owns the Heavens by Corey Van Landingham.
Megan Culhane Galbraith’s memoir The Guild of the Infant Savior starts with “the first woman on Earth,” Adam’s rib, serpent, apple. And it’s important to start my response to the memoir with the context of Eve, as well, including and especially the questions the archetype raises about the shaming and blaming of women, about who gets to tell a story and from what angle.
I love that Katie Manning’s list poem calls What to Expect When You’re Expecting on its shit. (If I remember correctly, there’s a section on poop.) And yet — I also identify so clearly with the poem’s anxious hopscotching.
WE by SARAH FRELIGH / Much has to do with sex. The adventures of it. Its hazards and manipulations. Parts that entice us. Parts that repel us. How we see ourselves inside it. How others see us in it. And if they can see us outside it.