Scattered at Sea (Penguin Poets), by Amy Gerstler
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Scattered at Sea (Penguin Poets), by Amy Gerstler
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A dazzling new collection from an award-winning poet--longlisted for the 2015 National Book Award for Poetry"Amy Gerstler has won acclaim for sly, sophisticated, and subversive poems that find meaning in unexpected places. The title of her new collection, Scattered at Sea, evokes notions of dispersion, diaspora, sowing one’s wild oats, having one’s mind expanded or blown, losing one’s wits, and mortality. Making use of dramatic monologue, elegy, humor, and collage, these poems explore hedonism, gender, ancestry, reincarnation, bereavement, and the nature of prayer. Groping for an inclusive, imaginative, postmodern spirituality, they draw from an array of sources, including the philosophy of the ancient Stoics, diagnostic tests for Alzheimer’s disease, 1950s recipes, the Babylonian Talmud, and Walter Benjamin’s writing on his drug experiences.
Scattered at Sea (Penguin Poets), by Amy Gerstler- Amazon Sales Rank: #603850 in Books
- Brand: Gerstler, Amy
- Published on: 2015-05-26
- Released on: 2015-05-26
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .30" w x 5.90" l, 1.00 pounds
- Binding: Paperback
- 96 pages
Review “This wry book is like a wave that knocks you over and changes how you view the world. . .[It] mixes salty humor, invigorating rhythms and sharp-edged wisdom.”—The Washington Post “Scattered at Sea takes deep, often beautiful dips into matters of femininity, sexuality, and mortality, while staying fleet, feisty, and musical enough to feel like short adventures. . .Gerstler’s real strength is in the way she collides the sensual with the spiritual. . .the world she creates is beautifully diffuse, as freeform as her poems are.”—The Boston Globe “Gerstler once again brilliantly amplifies the natural world in this blisteringly humorous eleventh collection. . .her dexterous poems work as satire as well as truthful reflections of humanness, often beautifully crushing in their honesty. . .what is most compelling is Gerstler’s dynamic consideration of spirituality, afterworlds, and reincarnations. . .[A] delightful, surreal, and well-rounded book.”—Publishers Weekly
About the Author AMY GERSTLER is a writer of poetry, nonfiction, and journalism who lives in Los Angeles. Her ten previous poetry collections include Bitter Angel, winner of the National Book Critics Circle Award, and Dearest Creature, a finalist for the Los Angeles Times Book Prize.
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2 of 2 people found the following review helpful. "Chew dew-bejeweled weeds" By Himri 'The Dead Woman's Telephone' poem in the book makes for a good example of a line for Ars Poetica. Its at once specific and general. It resonated with me when I was reading John Berger's line on archives being another way of dead people living.'Thoughts of Tree at twilight' is how we look at things and think things. Even in 'Bon Courage' when poet Amy Gerstler tries to guides us through the imaginary woods like a docent in a museum, where you are welcome to linger but there's more to look too - but you are there.'but the forest is our subject, not this young girl'That sense of being in the poem is what you should read 'Scattered at Sea' for.The little squiggles on the cover are cute.
0 of 0 people found the following review helpful. Juxtapositions abound By C. D. Varn Amy Gerstler’s poetry has always had a maniacal edge. In prior collections, she illustrates an ability to make hard-hitting and real observations in a verse that remains slight and tends to be both scattered and surreal. This tendency remains prominent in her most recent collection with Penguin, Scattered At Sea. However, while her manic style seemed more unique in the late 1990s when Gerstler first burst onto the stage, now, in the age of social media, her poetry seems to share much more with other poetry we might now see as having a referential quality that responds to internet meme culture. Yet, despite my distrust of this absurd and now more common style, the manic quality has any endeared me to Gerstler’s work more than alienated me from it, particularly in the case of this latest collection.Gerstler scatters her topics and observations, but there are some “movements” reigning in her madcap poetry. The first section focuses on sex, the next on banality, the third on death, while the latter seems to explore spirituality. The themes are remarkably consistent: the core things of life , such as sex, death, going to the grocery store, can cause disorientation, loss, and wonderment. We are scattered like the sea creatures on the cover, both comically but also beautifully.Gerstler’s habits of normalizing the absolutely strange and making the banal seem secretly odd is used to good effect in this collection. One sees, in poems like “Stoics” and “The Suicide’s Wife,” a willingness to go to places that seem both serious and humorous, both banal and weird. The strength in accepting death becomes almost caricatural in “The Suicide’s Wife” and in both “Early Greek Philosophy” and the “Stoics,” our selective acceptance of the abundant wisdom from people who still looked in bird intestines for hints of the future renders even common intellectual presumptions strange.In “The Suicide’s Wife” one can see strength, humor, and grief all at once, but scattered through the poem:six weeks later she looks greatthin and translucenta statue of justice sans blindfoldshe wears beautiful blouses nowpeach, gold, seedling greenher complexionhas never been betterlushness nips at the heelsof destructionThis can be contrasted with a cartoonish image of the Suicide’s wife almost comically soaked to the bone, even her panties water logged, which occurs just before it. The juxtaposition here is very powerful: the comic mingling with the tragic, statuesque composure crammed near cartoonish images of overwhelming grief, felt tragedy paired with strength from surviving it. The depth of feeling is hidden in playful idiom and slice-of-life observations.This is not to say that playfulness or Gerstler’s bold irreverence is lacking from the poem. In the aforementioned “Early Greek Philosophers,” Gerstler is humanely mocking all involved:On sorting the jumble of events into gorgeous orderGetting a lot of the science rightWhile still pawing through entrails to divine the futureA vigorous lot of intellectual adventurersWhose mission was to explain the universeWild minds we have only in fragmentsBecause whether papyrus scraps, birch barkOr this mortal coilDammit, matter just doesn’t lastGerstler’s point is not just that philosophers are sillier than we make them out to be, but that our wider preoccupation with ‘eternal truths’ seems somewhat ridiculous when paired with the decay of earthly things, including our bodies. The intellectualization often assumed in the spiritual and philosophical is often complicated in Gerstler’s pairing it against bodies—both male and female—which seem awkward, almost alien, and utterly amusing. One can see these images popping up over and over again. For example, in “Sea Foam Place” the poem turns on these lines:to our bodies we canbarely walk a straight line,remaining (most days) onlymarginally conscious.We stagger and shudderas buckets of blood or spermor chocolate mousse or spittleor lymph or sludge sluicecontinually through us…I love the way you wear yourface, how you ride this life.I delight in the sight of you,your nervous, inquisitive eyes,though I try to act otherwise.Gerstler uses the seemingly disgusting litany of fluids that strangely animate our bodies turning into a memory of attractiveness and affection. Similarly, in her poem “Womanishness,” we see the viscerally moist used to make one’s body more alien than one’s mind:The dissonance of women. The shrill frilly sillydrippy prissy pouty fuss of us. And all the whilescience was the music of our minds…”The repetition of such child-like sounds pairs disarmingly well with Gerstler’s intended effect. The language also mirrors that of misogynistic mocking of a woman’s opinion, but it’s the body being mocked while the “science was the music of our minds” which inverts both gendered and poetic expectations for the stanza. This effect seems playfully sloppy at first—partly because of its subject matter—but is actually quite expert it is ability to undermine itself for poetic and emotional effects.These juxtapositions can be dizzying, even slightly annoying. In several of Gerstler’s ‘catalogue’ poems, the apparently arbitrariness of the images doesn’t produce as the emotional resonance of the rest of the collection. One can see this in “A Short History of Sublime Moments on Hold,” “”Press five to put continents between you and a former love/ . . .Press eight to be connected to an invertebrate.” Gerslter’s love for idiom, particularly onomatopoeia, can be tiresome, such as “Prehistoric Porn Film” – “twig crack, muzzle cuff snuffinglicks nuzzleshove….” In short, sometimes the scattered nature of the poems doesn’t cohere enough and the idiosyncrasy of Gerstler’s style produces a flat note. Yet the overall effect is richer than these over indulgences would indicate.Grestler’s overall effect is surprising cohesive—more late Coltrane than Ornette Coleman—and it can be deeply effective. In the last section of the collection, the poems become the more clearly reflective. One can feel it in “Kitchen Annunciation”:Brute beast led by sensualityAnd yearning, weak as an earthworm,Don’t shun my light. Correct yourAffections. Revel while you’re flesh.Gerstler’s direct address and violation of the ban on telling being particularly effective here. Awe and wonder are here, but so is mortality. In Gerstler’s playful juxtapositions, there is a reflection on life that is deceptively deep for a poet who presents her work in the form of almost childlike idiom.
1 of 1 people found the following review helpful. Hot, sticky, and sweet By Jon Wiener Fabulous poems, written "hotly, stickily, sweetly"; also, some that are grief-stricken, and one consisting of great curses.
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