All in Book Reviews

Hannah Cohen’s Bad Anatomy puts its viscera on the table—this is today’s chapbook for punk rock girls, pulling the reader through starlight, road trips, and the gynecologist’s office. Cohen’s concise lyrical precision is a poet wielding a rusty scalpel as she imagines she is a television, finds herself down a gory Google rabbit hole, and menstruates for the loss of the America we’d hoped for. As she says in Sad Girl’s Drinking Ghazal she “[likes] things both false and true.” And such are these poems: Stories that have gathered here to eat you whole and fill you up.

Emily Corwin’s tenderling glows in the forest while bleeding sugary doll blood. Here, lovers wound themselves & their beloveds. Festooned with acute language, sound, & line-breaking, Corwin’s poems warn about The Dark. About Prozac & the hollows of trees. Ancient witches & modern boggarts such as mobile data both vex as Corwin sticks magic pins into dolls woven of liminal, earnest human sensibility. A complete journey, tenderling’s first word, “if”, unlocks a faerie realm of possibility. The last phrase—"dead gardens”—epitomizes a pungent, codependent marriage between bloom & rot readers witness betwixt brambles as constant, fragile light streams through. 

Slut Songs is a deep catalog of tribute to a complex word. The title of this mesmerizing, potentially triggering collection from Jade Hurter represents shared songs of the horrors women collectively face, and understand in near-unison. Those who already have these songs of their own will pick up on the intense, evocative language, and the rhythm of a survivor who will not be trivialized. It’s easy to read poems like “Self-Portrait, Age Nineteen” and “Red Song”, call them brave, and just stick with that. Bravery engages us. Poems that balance rage with anxious, soothing calm, which are the poems of Slut Songs, demand something more than that. They have every right to ask us for everything we have.