Snapshots of Grief–Matthew Leavitt Brown’s Glory Glory

I just completed Matthew Brown’s chapbook Glory Glory this afternoon, and I am absolutely in awe.
Don’t get me wrong, I love poetry and often find myself moved by a lovely poetic phrase, but rarely am I stunned by an entire project as I am by this one.

The entire chapbook follows one couple, and travels from remembrances of their relationship beginning to little nuances of their married life to the wife’s sickness and ends with her death and his coping.
(Sorry–spoiler.)
I don’t feel bad spoiling that a little bit though, because the beauty of this narrative poetry is not in what exactly happens. The beauty of this chapbook is how you feel exactly in the moment with the couple, often time with very brief and ordinary snapshots of their life together.

Several poems are even descriptions of photographs, which I thought was a really smart way to capture a moment…by literally describing a captured moment.
The entire chapbook is very visual in the way that photography is.
The wife is often described not by her name, but by the way her curls fall around her face in several poems.
The absence the husband feels after the wife passes away is stunningly captured in one of the poems by the way he finds bunnies while pulling weeds and “without thinking I/called your name once, almost without making a sound, then again,/louder, with my head turning back over my should towards the empty/house.”
He does not just say he misses her, he shows it in an absolutely lovely and heartbreaking way.

Another of my favorite aspects of this chapbook is the way it cycles.
Their is a poem at the beginning, before the reader knows of the wife’s illness, where the husband describes coming home to his wife. It ends as such:
” Your eyes gone wet from corners.
Our song playing in the back room.
Our roses blooming the front yard.

My hands around your belly.
Your smile a lasting penance.
I wiil find you. Always.”

It’s absolutely lovely, and promising.
One of the last poems of the chapbook is in response to this one. It ends as such:
” Your eyes, clear and wide cold blue, gone wet from the corners.
Your soft smell in the kitchen, our song playing in the back room.
A soft whistle in your breath, roses blooming the front yard.

The garden gone petal pink, my hands around your belly.
Holding true your poise, your smile a lasting promise.
When you come back, I will be waiting. Amen.”

The second is not only eerie and stunning, it is expanded, as if in death, the wife is speaking more to him than she did when she was alive.

I know I would love to write poems that converse with one another in such a way, to encapsulate a life so wonderfully.

This chapbook is crafted purposefully from image to language, to the deeply thought-out and constructed structure…all features of good writing that we should all hope to aspire to.

And it is definitely worth a read.

For more information about Matthew Brown’s work, to read samples of his poems, or to order a copy of Glory Glory, click here: matthewbrownpoetry.com

Keep capturing moments, friends. It’s one of the most beautiful things we can do as writers.
Blessings,
Abigail Joy

Prose Poetry and Purgatory

Tonight, I read Amelia Martens strikingly short and powerful chapbook Purgatory.
And it was nothing short of stunning.

The book consists of 20 paragraph-long prose poems that each describe a different creepy, self-reflective, psychologically magnificent idea of purgatory.
Now, I’m not one to say I believe in purgatory. But as someone studying psychology in addition to English, I find this chapbook and the idea in general to be fascinating.

What would purgatory look like if it tapped into the deepest and most toxic annoyances, fears, and paralyzing limitations of the human mind and experience?
Amelia Martens tells you, and she writes it well to boot.

Prose poetry in general is wonderful to me because it, by definition, means creating poetic language without poetic form. This means that poems have to stand alone in their language without the additional assistance of line breaks. Prose poetry is poetry’s elitist cousin (in my opinion, coming from someone who often uses line breaks to cover a multitude of sins.)

Her language is surprising and very in-depth when it comes to detail. These purgatories are fascinating and disconcerting mostly because of the amount of detail she pours into a short paragraph.

If I’ve learned anything about good writing it’s this:
DETAILS.
DETAILS MAKE GOOD WRITING.
(If you can’t tell, I’m writing late at night after a long day of Reading, Writing, and Thank God No Arithmetic so you’ll have to forgive my expressiveness)

I think my favorite example of how Martens uses detail to bring these unique ideas to life is in “The universe grows smaller every day”:
“The universe grows smaller every day. The grocery store on the corner moves like an ice sheet, eating up the sidewalk. The nine has already been lost on your chalk box of hopscotch, and the walk you take in the evening, up to the post office, takes less and less time. Soon there will be no darkness left, as streetlights pile up at the end of the block.”

This idea, that the universe is growing smaller, is a little creepy if you think about it. When you have details like streetlamps crowding the street into eternal daylight, you’re put in that scenario for just a moment and you have to face a deeply human fear… the fear of shrinking. Of being less than what we are. Of not moving forward in innovation or in our ability to have our own space to exist.
And we’re faced with, not only an idea of purgatory, but an aspect of the human condition.

If you’re interested in learning more about Amelia Martens and Purgatory, click here.

Keep using those details, fellow writers of the Interwebs.
Keep writing things that unsettle, things that reveal humanity.

Keep describing what no one else can.
Abigail Joy