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Catherine daly reviews antidotes for an alibi - poetry

 

Amy King Antidotes for an Alibi BlazeVox Books ISBN 0-9759227-5-0 2005

These poems read to me like poetry versions of flash fiction. Now, I like flash fiction very much, but I like the more fabulistic kind. Amy King is journalism the fabulistic kind of flash fiction -- I want to say, "the good kind" -- in poetry. What does this mean? Well, when lineated, the line breaks in the poems point to the jumps in the narrative. When not, the poems still take the same diminutive leaps that poems take. I guess I'm struggling with the new decree this morning. I am not as "torsion" as I appreciate it, nor am I looking for it -- I am just adage that these poems have barely leaps in them that flash fiction of a akin type does not. For example, this poem, "Evening In," is a story of broadcast a exact kind of call:

Evening In

Mother phoned the premature death of priest to me. A automaton shuffled her words. I played back the story of my childhood and grieved.

Now, I would doubtless end the canto here, or title it a touch different. In any case, the dusk in begins with a letter in a machine. I would think flash fiction might use "the machine" and not jump so abruptly to "story of my childhood. "

After dinner, blocks of child teak wood fell, then floated, flawed for cork. Household acts boiled over Aunt Max's black pot rim where we succumbed to the likelihood of work. We were all enchanted when the barely kettle dripped and wrote proverbs to accomplish our pact with amazing accents. Dessert hints wafted past raised cups of homeground coffee, whiskey-tinted, under the blue haze of existing room light.

In this be with part of the poem, the evolution is chronological. After dinner, some french press auburn and dessert. I don't think "household acts" and "dessert hints" would be in flash fiction. They are too mysterious. Interestingly, the references to fables and fiction continue, in "enchanted," "writing," "proverbs," "pact, " and "accents. " The line break after "dripped" makes it doubtful whether the kettle (presumably whistling) is journalism or that "we" who are charmed are writing. But overall, a hardly story of a poem, which is recognisably a poem, not fiction.

In the next-previous prose poem, "Land into Sea," the jumps are amid sentences -- I don't see each condemn doing as much heavy lifting as in a poem, and I see larger jumps connecting the sentences. I also see larger jumps -- associative ones -- than in fabulistic flash fiction. It has the logic of some poems where the themes are established, play at once a while, and then reach a conclusion. We start with a fairly actual example, a fabulistic but also realistic fear:

On the car-hugging road, I am shocked that one day I fall asleep and the stray dog could die.

Not the road is hugging the car, not the car the road (as car commercials would have -- did you know most city car commercials are filmed in business district LA?). In any case, car, road, sleep, dog, death. Very clean and neat. Then, out of the bushes at the side of the road -- a crowd.

These instructions of truth arouse self defense, so urge the crowd, "Betray yourselves. " Every escapee deserves back away at depths the bathysphere can't reach.

Who is the fugitive? The narrator? The dog. The dog and the narrator. The raconteur is more apt to fall having a lie-down and die than fall fast asleep and kill a dog. I. e. , life is fugitive. So you see, by figuring out the differentiation among the first sentnce and the agree with sentence, you've got poetry, as flash fiction tends to spell this sort of stuff out, not point all sorts of altered directions. But, note, this is sentences which are addressing another ancestors and having assorted characters, not inevitably "torque-ing" as I absorb it.

Since lame-o short reviews by and large allusion the title, I'll say -- I like this title and the way is points to the flash fiction in poetry theme. For what is an alibi, but a very definite sort of potentially demonstrable narrative. And what is an antidote to that, but the fabulistic.

http://cadaly. blogspot. com/2004/12/because-i-have-two-reviews-due-and. html


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