Ruth Crossman

Ruth Crossman is a Pushcart-nominated writer whose work has appeared in publications including Litro, Flash Fiction, sPARKLE + bLINK, The Fabulist, and Maximum Rock n Roll. Her auto-fiction collection All the Wrong Places was published by Naked Bulb Press in 2022.

Ruth Crossman

Our Lady of The Flood

Our Lady of the Flood by Alison Pelegrin

Review by Diane Elayne Dees

The entire region around New Orleans embodies a certain sensibility, born of geography and weather and a unique heritage that is hard to define and even harder to translate. When I first moved to the city decades ago, I was both curious about and amused by the many “Our Lady” names of schools and churches. “Can you imagine what their fight song is?” an acquaintance once asked when we drove past Our Lady of Prompt Succor School.

After you’ve lived here a long time, though, Our Lady of Prompt Succor, Our Lady of Good Counsel, Our Lady of Perpetual Help, and Our Lady Star of the Sea (which we called “the tuna fish church”) all become part of the sometimes bizarre linguistic landscape of the city.

I’ve also lived through many Louisiana hurricanes and floods, so I approached reading Alison Pelegrin’s Our Lady of the Flood with relish, and I was not disappointed. In this collection, Pelegrin skillfully cuts through the difficulty of cultural translation with a collection of poems that puts the region’s eccentricity in the colorful and sometimes absurd context that it deserves. Moreover, she does it—often with delicious humor—by using language that gives new life to the tasks and customs that are part of daily life in and around New Orleans.

The collection opens with the eponymous poem, “Our Lady of the Flood”:

Some saints are untouchable behind glass,
but you ride in open boats
with mildew on the edges of your gown,
a calm commander of the Cajun Navy’s fleet.
Your devotees worship outside
in a circle of ruined pews,
no incense but bug spray

This is a perfect introduction to the parade of “Our Lady” poems that are to come, as well as the other poems in Our Lady of the Flood, which include an ode to ambrosia (“confection snubbed by food snobs as a [. . .] meringue of shame”), a meditation on local bridges, and a commentary on the removal of New Orleans’ Lee Circle statue of General Robert E. Lee.

Hurricane Katrina, as one might expect, is an ongoing theme in Pelegrin’s collection. In “Anything We Want,” she expresses the longing of all Louisianans who were displaced by the 2005 storm:

They won’t quit asking, What do you want?
I want to be somewhere besides Mississippi
with its highway that splits fields
of cotton and soy and blackbirds.
I want art supplies and to read a book
in my old bed, to ride the streetcar by myself


I want my mom to say something
in the Walmart, where we have gone to spend
a gift card from some church
on anything we want.

And in “Quicksilver”:

[…] quicksilver visions wrinkle
and then they vanish. But
this water is absolute. It remains,
though the hurricane is over.
I have studied from my exile
in this hotel room, witnessed
rooftop rescue, the folly
of mammoth sandbags. This water
is no silvered mirage. It clings like tar.
It swallows everything we are.

The “Our Lady” poems are a special treat. “Our Lady on the Half Shell” celebrates “Bathtub Madonna, Lily of so many gardens, Queen of Heaven in a scalloped shell [. . .]”:

White-washed, with marble chips, or pansies, at your feet,
you have many faces in New Orleans—so many incarnations—
alabaster, hand-painted Creole or coffee or midnight skin,
your ghost eyes peering out and you motionless

And then there’s “Our Lady of ‘No Regerts’ ”:

Our Lady of No Regerts, prevention of bad tattoos
must be your side hustle, a part-time ministry,
because, queen of inky heaven, with respect,

a few too many permanent atrocities
have escaped your intervention

My personal favorite is “Our Lady of Whatever,” in which the poet fantasizes about being one of the many Ladies revered in New Orleans.

So many lakes. So many Ladies of the Lakes.
Maybe I could be Lake Pontchartrain’s Lady
of the Longest Bridge, Lady of Cicada Tea Parties,
of Lighthearted Marvels, of Sand Mandalas,
Reduced to Cerulean Ash. Our Lady of Shrinky Dinks.

A special gem in this collection is Pelegrin’s “Soliloquy against a Kudzu Backdrop”:

 Audience of none, superstition dictates
that I peek through the kudzu curtain
like a starlet before making an entrance
and speaking yet again on the theme
of ignorance observed in waking life.
I would like to believe these are actors I see—
rednecks so loud in their stupidity
that rather than being frightened by their antics
I find myself waiting for the punchline


How can we be
so different when the same trees
rustle in all of our dreams?

It isn’t easy to move readers beyond the clichéd images of jazz bands, wrought iron balconies and roaming alligators, to the sometimes painful, sometimes hilarious, and always evocative images that represent what life is really like in New Orleans and its outlying regions. But in Our Lady of the Flood, Alison Pelegrin provides a charmingly authentic portrait of a culture that is like no other in the nation.

Alison Pelegrin’s latest collection, Our Lady of Bewilderment, is forthcoming from LSU Press in 2022. Other books include Waterlines (LSU 2016), as well as Hurricane Party (2011), and Big Muddy River of Stars (2007), both with the University of Akron Press. Pelegrin is the recipient of fellowships from the National Endowment for the Arts, the Louisiana Division of the Arts, and the Louisiana Board of Regents. She is Writer-in-Residence at Southeastern Louisiana University. 

Title: Our Lady of the Flood
Author: Alison Pelegrin
Diode Editions
ISBN: 978-1-939728-16-6
28 pages, $12.00

Diane Elayne Dees is the author of the chapbook, Coronary Truth (Kelsay Books) and two forthcoming chapbooks, I Can’t Recall Exactly When I Died, and The Last Time I Saw You. Diane, who lives in Covington, Louisiana—just across Lake Pontchartrain from New Orleans—also publishes Women Who Serve, a blog that delivers news and commentary on women’s professional tennis throughout the world. Her author blog is Diane Elayne Dees: Poet and Writer-at-Large.

ABOUT THE PRESS: Diode Editions is an independent press based in Doha, Qatar and Richmond, Virginia. Editor-in-Chief Patty Paine founded the press in 2012 as an offshoot of Diode Poetry Journal. To date, the press has published 37 titles of poetry, chapbooks and poetry-related nonfiction works and hosts yearly book and chapbook contests.

Risa Denenberg is the curator at The Poetry Cafe

There is Still Singing in the Afterlife

There is Still Singing in the Afterlife, by JinJin Xu (Radix Media, 2020)

Winner of the inaugural Own Voices Chapbook Prize selected by Aria Aber

Review by Jeri Frederickson

There Is Still Singing in the Afterlife drew me in through its imagery and unabashed closeness to intimate loss and historical grief. You may find yourself and echoes of your own family in this debut collection by JinJin Xu. Drawing on personal experiences, playing with language and visual poetry, these poems shine a light for readers to see our own paths in the aftermath of complex family dynamics and loss.

We are in an afterlife of our own in 2021. I imagine this collection was written and set for publication before the Covid-19 global pandemic, and yet it entered the world right in the middle of it. Fortunately for us, as the world tries to find a post-Covid, or a Covid+ world, There is Still Singing in the Afterlife lifts the burden of finding a way. Xu visualizes an afterlife of both global and personal loss, chaos, and misunderstandings. As I read, I kept asking myself how does this collection feel so alive, like a song, despite its often heavy content? Xu shows the reader a way to sing again and a way to live through play, even as we grieve.

As is often the case with a contest-winning chapbook, There Is Still Singing in the Afterlife has already received several reviews; I agree with previous reviews asserting the language’s poignancy and intimate closeness. The language draws us into the longing and hardship inside familial ties in poems like “New Year’s with my Aborted Sister,”

& my poor mother, with only a daughter to her name
             Melts her red tears into the little girl
            I have long searched for.
I am her daughter in this life, her mother in the next.
             I undress her grief, suckle cancer from her breasts

Xu’s precise language affirms and eases the weight of similar grief. Some reviews of this chapbook have pointed to the titular poem or to the “To Red Dust” poems to uplift Xu’s exploration of and confusion with familial bonds. While I find their perspective interesting and certainly relevant to poems like “New Year’s with my Aborted Sister,” I’m most interested in another aspect of this collection. Xu’s playfulness through language and the visual design of the collection includes glossy images that emboss, strike-through, or erase text, and the text moves across the page with a playfulness that first caught my attention when thumbing through the pages. Even before I entered the words as individual units of meaning, this collection took on a sense of play.

“To Red Dust” plays with the book as a physical object, and the reader gets to be part of the play. The words flow in portrait as well as landscape across the pages of this poem. The book’s need to be turned and engaged with as a physical object was a delight as Xu weaves heady ideas and complicated emotions into physical images:

As if I am not of my father’s body, I write
My name into my exhale, please
A swipe of his palm –
Do not leave us in the red dust

“Red Dust” sets the rhythmic pace of the collection, acting as the inhale and exhale while making the reader crane her neck and turns the page around and around even as Xu turns the ideas of family around and around.

At times, I didn’t understand quite what was going on in a poem, and I was surprised to find this never bothered me. Xu interweaves the senses with an emotional understanding even when the logic or narrative seemed out of reach:

unnameable mother
sat gashing fish scales
into the tremble
of a bucket
between her legs,
not yet knowing
the cost
of a bullet fired
at dawn
into the belly
of her
poem –

I didn’t understand all of what was going on in each scene of “Showing my Mother a Censored Film She Cannot Unsee, in Three Acts”, but I loved the playfulness of the poem’s styles and always felt drawn into the poem and landed with the poem’s end. Xu’s ability to play in this weaving creates a sense of trust in the reader to go along with the poem.

Xu plays with form through erasure in “The Revolution is Not a Dinner Party.” This poem of very short lines creates a melody even as it erases its source. Chairman Moa’s Little Red Book is the source material, and the poem lifts extended images such as:

Blind war
xxxxxxin thick ropes.

xxxxxxa now common

Language. Not
xxxxxxliving. Paper.

We have many personal, societal, and governmental ghosts, and Xu’s deft words slide over playful rhythms and forms to give us a doorway to dance through into the afterlife of those griefs. There Is Still Singing in the Afterlife is a complex and visually compelling debut to hold. Let us look forward to more from JinJin Xu.

Photograph of JinJin Xu by Xu Xiao Ping.

JinJin Xu is the 2020 winner of the Poetry Society of America’s George Bogin Memorial Award. She has received honors from Southern Humanities Review, Tupelo Press, and the Thomas J. Watson Foundation. Her films have exhibited at Berlin’s Harun Farocki Institute and NYC’s The Immigrant Artist Biennial.
Born and raised in Shanghai, she received her MFA in Poetry from NYU, where was a Lillian Vernon fellow, and now teaches hybrid ballet/poetry workshops through NYU Tisch’s Art of Future Imaginations Grant, and serves as Books Editor of Washington Square Review. Her debut chapbook There Is Still Singing in the Afterlife was selected by Aria Aber for the inaugural Own Voices Chapbook Prize (Radix Media) and was published November, 2020. Her second chapbook This Is My Testimony is forthcoming Fall 2021 from Black Warrior Review. Find more of her work at


Title: There is Still Singing in the Afterlife
Author: JinJin Xu
Publisher: Radix Media: November 20, 2020
ISBN: 978-1-7340487-2-8

$12, 48pp

Jeri calls Chicago home with her two cats and many plants. She dives into literary, visual, and performing art as a channel to nurture love and access beauty while questioning the experiences that hold people together. She graduated from Antioch University Los Angeles with an MFA in Writing. Her chapbook You Are Not Lost is published by Finishing Line Press 2021. IG: @jfredcreates

Risa Denenberg is the curator at The Poetry Cafe.

S.M. Tsai

S.M. Tsai spent many years doing archival research and writing, then turned to 9-5 jobs for a new learning environment. Her poetry appears or is forthcoming in Ricepaper Magazine, Blue Unicorn, and the chapbook Bubbles and Droplets: 10 Poems of 2020. She lives in Toronto with her plants.

Hypochondria, Least Powerful of the Greek Gods

Hypochondria, Least Powerful of the Greek Gods by Emily Paige Wilson,
Glass Poetry Press, 2020.

Review by Emily Mohn-Slate

What if hypochondria is not about fear but rather love? In her chapbook, Hypochondria, Least Powerful of the Greek Gods (Glass Poetry Press, 2020), Emily Paige Wilson observes in harrowing yet loving detail the secret truths a body can hold. Wilson’s chapbook investigates illness anxiety disorder, also known as hypochondria, which is worrying excessively that you are or may become seriously ill. This chapbook also explores language, power, and empathy in poems that exhibit a range of formal and sonic play. As someone who has suffered from chronic migraines for most of my life, I found myself nodding and underlining while I read as Wilson articulates the weight of invisible pain—mental, emotional, and physical—and its ability to fray not only one’s sense of self, but also one’s relationships with others.

Hypochondria, Least Powerful of the Greek Gods is framed by a series of concise poems titled “A Treatise of Hypochondria.” These poems use archaic spelling and capitalization (i.e. “Vapours”), which roots the reader in a time when doctors relied on the outdated theory of the “four humours.” The first of these poems, “A Treatise of Hypochondria (i),” serves as a prologue poem, and ends, “our Ancestors / rising / to make Complaints.” These lines ground us in the stereotypical image of the hypochondriac as merely a world-class complainer, while they also nod to how we are all bound by our ancestors’ genes. This framing begs the question: how far have we really come over the last few centuries in our understanding of women’s illnesses in particular?  The next poem, “I Am Constantly Seeking Reassurance,” is a first-person lyric that introduces the anxiety of the speaker and considers the limits of others’ support in the face of her illness:

xxxxxxxxxxxxxxxxxMy boyfriend
can only xxxxxxxxxxreassure me

so many times before trees grow
in his ears,
xxxxxxxxxxxtheir roots forming his red

One of Wilson’s poetic gifts is an uncanny ability to render emotional complexities via imagery. Here, the leap from narrative into image evokes a visceral, physical limit to the boyfriend’s empathy; the trees, trunk, and roots seal his ears against the speaker’s legitimate complaints. We begin to understand the isolation and loneliness felt by the speaker—a double insult to contend with—the way even those who love her most are closed off to her reality.

            “Hypochondria, Least Powerful of the Greek Gods” is the first poem of a series that serves as a second layer of nesting dolls, which situate the human speaker’s concerns in a larger mythological framework. Wilson’s tacking back and forth between humans and the gods draws out tensions around ideas of power and agency in the world. One would think that the god-figures would be able to exercise more authority than the human speakers, but that is not always the case. In “Hypochondria, Least Powerful of the Greek Gods (i),” we see Hypochondria from a distance as the poem is narrated from a third person point of view. In these poems, Wilson gives us the god adapted for our modern time with sharply funny lines like, “Hypochondria once had lunch duty with Hades and he told her, ‘That’s some thorough grief you have.’” She is a complex, human-esque version of a god whose favorite color is beige: “She lets the other gods think it’s because she’s boring, but she loves it—this, the first color clouds turn when they finally let the light in.” Wilson’s speakers are always fighting to turn toward the light, toward connection, even in the midst of impossible odds.

One of the specters haunting this collection is the legacy of women’s pain being seen as insidious or dismissed as mere hysteria. In the second poem of the series, we see the risks of being a woman, even as a god: “Hypochondria was once called a slut by a satyr because she wears barely-there dresses drawn from river water and weeds, but she needs to see her body clearly.” She wears thin dresses in order to see her body clearly for a purpose that is her own, not to entice men; but again, her intentions and her body are misinterpreted. Hypochondria “wishes she could treat pain like a coin purse—something spare, sparse, to be exchanged for something else,” but instead she has to bear it again and again. Gender also shapes our understanding of pain and our acknowledgement of it as real. We see this in the poem, “Hypochondria and Her Estranged Half-Brother Sisyphus,” in which “Hypochondria knows he’s never taken her / symptoms seriously, the panic she’s attracted, / aches born less in the bones than the brain.” Sisyphus responds, “I hold my pain in a way others can believe. / See how it fits neatly in my hands. So visible and clean.” Boyfriends, family members, and doctors minimize and ignore her pain, as in “My Doctor Told Me There was Nothing There.” The speaker says, “They didn’t know how practiced I’d become / in distraction—deeming every discomfort / unworthy of concern.” Here, her secret pains are articulated against the forces that would silence her. And, we experience the way pain is subjective, shifting, and unknowable for others.  It takes a new doctor who had to “hold me / down while she checked the wreckage of the cysts / on my Bartholin glands,” apologized while she “milked blood / and pus from the thin skin of my labia, /gentle yet firm as if she had mouths to feed.” In the world of this book, and we are to understand, in the larger world, it is rare for the hypochondriac to be believed. What if the girl who cried wolf is telling the truth? Who will help her then?

In this collection, Wilson often lifts up the curative powers of language itself. Language is crucial to our ability to connect with others, to rise out of the murk of loneliness. But especially for the hypochondriac, language is also the locus of deep misunderstanding and damage. One of the most compelling aspects of this chapbook is the tension between the limitations of language that the speaker faces within each poem, while the language of the poem on the page is lush, precise, and exhibits transformative properties of observation and sonic beauty. In “On the Wall,” Wilson pursues a fuller understanding of language and reality: “In ancient Egypt, /only scribes were allowed to write—the belief that putting a word on paper was to summon the thing itself.” This is an argument for language’s power to create something real in the world beyond expressing an idea; this tangible power names why many fear sharing certain truths, and would prefer silence. The poem ends: “I’m not interested / in the etymology of a word, but the entire / music behind it. Not the origins, / but the tambourine.” It matters that the speaker is not interested in parsing the word; she wants to experience it—to hold it up to her ear and play each word, through the tidal waves of loss and silence.

The collection’s first epigraph, by Fleetwood Mac, is “I have no fear; I have only love.” These poems stare fear directly in the face with the gaze of love. The second epigraph, “I did not fear them until I wanted to be afraid,” by Sabrina Orah Mark, frames hypochondria in terms of wanting; the speaker has agency and has decided to feel fear. This agency is no small thing; combined with love, it amounts to the exact opposite force needed to dispel the silencing and pain caused by the dismissal of the speakers’ own pains throughout the collection. The final poem, “A Treatise of Hypochondria (iii),” lays out a bridge to another place from where we have come: “persist in all that / Pain and / Patience.” We trust that the speaker will continue carving a path forward, with god-like strength in her vulnerability, through mythology, music, and the force of her own will and love.

Emily Paige Wilson is the author of the forthcoming full-length collection Jalubí (Unsolicited Press, 2022) and two chapbooks: Hypochondria, Least Powerful of the Greek Gods (Glass Poetry Press, 2020) and I’ll Build Us a Home (Finishing Line Press, 2018). Her work has been nominated for Best New Poets, Best of the Net, and the Pushcart Prize. Connect with her at and @Emmy_Golightly.

Title: Hypochondria, Least Powerful of the Greek Gods
Author: Emily Paige Wilson
Publisher: Glass Press
ISBN: 978-1-949099-09-6
23 pages

Emily Mohn-Slate is the author of THE FALLS, winner of the 2019 New American Poetry Prize (New American Press), and FEED, winner of the 2018 Keystone Chapbook Prize (Seven Kitchens Press). Her poems and essays have appeared in AGNI, New Ohio Review, Muzzle Magazine, Tupelo Quarterly, The Adroit Journal, and elsewhere. She teaches high school English by day and poetry workshops by night for the Madwomen in the Attic at Carlow University.

Risa Denenberg is the curator at The Poetry Cafe Online

Grammars of Hope

Grammars of Hope by Chana Kraus-Friedberg

Review by Cheryl Caesar

As a friend, I encouraged Chana Kraus-Friedberg to enter her chapbook Grammars of Hope (Finishing Line Press, 2021) into the Mark Ritzenhein Emerging Poet contest, and I was not surprised when she won first prize!

“Grammar” has a hard sound: grasping, grinding. Few admit to loving this field of study. We, as members of this select club, see it as the skeleton holding up the flesh of words, the skin of imagery. There is no language without grammar. A modal auxiliary like “may,” in the title poem, indicates a whole universe of possible futures for a friend’s young niece. I am reminded of Steinbeck’s East of Eden, and the Chinese servant Lee who works for years to find the best translation of the Hebrew word timshel, spoken by God to Cain. Did God say, “Thou shalt triumph over evil.”? That would be merely a statement of a predetermined future. Did He say, “Do thou triumph”? That is only a command. Lee finally concludes that God told Cain, “Thou mayest triumph over evil,” and that in the word “may” lies all the greatness of the human struggle. Likewise, Chana sees a great field of possibilities before her young heroine:

But I like to imagine
your niece’s grammar
as more hope
than mistake,
as though she’d been
shown two limited paths
and refused them both.
That’s not enough, and it can’t be
all there is,
she might (one day)
May there be…?
There may be better ways.

But Chana is also a lover of words themselves, for their colors, smells, or moods, as in the poem “Authorial Intent”: “sickening” has an adamant, exceptional sound, / with that hard solid K in the center.

Or in “Sometimes You Ask Me,” where she reflects of the common phrase “what the day holds”:

I imagine it
like a pair of cupped hands
waiting to be filled.

This chapbook’s title, then, is important for at least two reasons. Words of Hope would have been merely banal. And the plural form lets us know that the author is the product of no one grammar, language or culture; she lives and finds her hope while moving between them.

In revealing these worlds, Chana shares a history that few of us will find familiar. She begins with her ultra-Orthodox Jewish childhood in Brooklyn, early becoming aware that her response to other girls is not the “normal” one, is not something that people speak of. “Brooklyn Lust” tells the poignant story of her “tender, insistent ache,” while standing behind a classmate, breasts pressed against her back, braiding her hair. Chana takes us through her life nearly to the present, to the years of COVID and Brett Kavanaugh. We hear of romances following her coming out–some with presumably real people, others with historical figures like Emma Goldman that she meets on library shelves. But we also follow her to Twelve Step meetings:

I didn’t know it would
feel like that,
all that pain with
no drugs to put on it –


But I’m grateful
for this chair
I’m sitting on.
I know if I stop being grateful
what happens

 With each new piece, the identity of the poet continues to take shape before us.

Chana’s writing is highly literate but never affected. It is strong and always searching. There is no lazy or pretty phrase. We feel that the poet is exploring the words, feeling the sounds, finding the meaning along with us. I can see her looking back, bemused, at the lines that have come from her. It’s the same expression that I see on poet Stevie Smith, with her cognomen of “peculiar”– the same wry shaking of the head. In the poem “Authorial Intent,” Chana concludes:

But lately I wonder
how a sentence survives
in the wild.
I could take it outdoors in
my pocket, speak it and see all
the words strung together like small shining orbs:
and I’d know what I meant,
why I’d placed them that way.
I’d know I’d said it.

I can’t guess what you’d hear.

Chana shares the puzzle with us and invites us to join the experiment. It’s an invitation worth accepting.

Chana Kraus-Friedberg is the winner of the 2020 Ritzenhein Emerging Poet Award. She grew up in an ultra-Orthodox Jewish community in Brooklyn, New York. Since leaving that community at the age of 20, she has earned a Ph.D in archaeology from the University of Pennsylvania and an MS in Library Science from the University of North Carolina-Chapel Hill. She currently lives with three feline companions in Lansing, Michigan, where she is a health sciences librarian at Michigan State University. This is her first chapbook.

Title: Grammars of Hope
Author: Chana Kraus-Friedberg
Publisher: Finishing Line Press, 2021
ISBN: ‎ 978-1646624386
Cost: $14.99

Cheryl Caesar lived in Paris, Tuscany and Sligo for 25 years; she earned her doctorate in comparative literature at the Sorbonne. She teaches writing at Michigan State University. Some of her COVID-era poems appear in Rejoice Everyone! Reo Town Reading Anthology, and in The Social Gap Experiment, both available from Amazon. Her writing and artwork will appear soon in Words Across the Water, a joint anthology by the Lansing Poetry Club and the Poets’ Club of Chicago. With co-editor Ruelaine Stokes, she is gathering a volume of reminiscences of the Lansing poetry scene in the 70s and 80s.

Risa Denenberg is the curator at The Poetry Cafe Online.

Cheryl Caesar

Cheryl Caesar lived in Paris, Tuscany and Sligo for 25 years; she earned her doctorate in comparative literature at the Sorbonne. She teaches writing at Michigan State University. Some of her COVID-era poems appear in Rejoice Everyone! Reo Town Reading Anthology, and in The Social Gap Experiment, both available from Amazon. Her writing and artwork will appear soon in Words Across the Water, a joint anthology by the Lansing Poetry Club and the Poets’ Club of Chicago. With co-editor Ruelaine Stokes, she is gathering a volume of reminiscences of the Lansing poetry scene in the 70s and 80s.

Cheryl Caesar

Sylvia Byrne Pollack

Sylvia Byrne Pollack, a scientist turned poet, has published in Floating Bridge ReviewCrab Creek Review and Clover, among other print and online journals. A two-time Pushcart nominee, she won the 2013 Mason’s Road Literary Award, was a 2019 Jack Straw Writer and will be a 2021 Mineral School Resident. Her debut full-length collection Risking It is published by Red Mountain Press (2021.)

Sylvia Byrne Pollack

In September They Draw Down The Lake

In September They Draw Down The Lake, by Suzanne Simmons

Review by Bill Rector

I do not know Suzanne Simmons, except by way of her chapbook, In September They Draw Down The Lake (Alexandria Quarterly Press, 2020). This is fitting, as her work derives its tension from the distance, emotional, physical, and temporal, that exists between herself and others.

The second poem in the book, “Commute,” concludes:

The train streaking beside us
blows its whistle, years ago.
We’re almost there.

Are we? The last poem in the collection is the echo she hears in the “shivery tunnels” of loons’ cries:

They cut through my dreams. Wake me.
Do you hear them? You on your shore?

The book is divided into three, untitled sections. The initial section focuses on loss and its constant companion, regret.  The first loss is that of her mother, who had a glass eye, in which the author sees herself disappear. In “Self Portrait,” she writes:


Then, the loss of a lover/husband:

(I don’t miss you.) I miss air. (I don’t miss you.)

The second section is about her third loss, which is that of her son, who has autism. “Nursery rhyme” concludes with this wrenching sequence:

Normal health baby

At six, he asked Mommy, please kill me.
Smeared feces on the dinosaur wallpaper.
Came at me with teeth and eyes wild, clawing.

Rocking, rocking, rocking.

A later poem, “Coded” shows a family torn apart. The poem begins during a parent-teacher conference, in which the poet is sitting in a child-sized chair, and ends:

My husband begins crawling for the door.
Seventeen years pass.
I’m sitting in a child-sized chair.
I’m about to speak.

The heroine of the third section of the book is the lake near which the poet lived and perhaps still does.

It was sweet when you held me up.
Sweeter still when I dove to your bottom.
Thanks for lapping and churning
and the mornings when you lay under the mist
silent. I was furious every winter when you froze.

One might expect the body of water to express, through the many forms available to metaphor, a form of reconciliation.

Not so. Here in “Long Night,” is this:

Cold stuns the lake
onto glass. Portal moon.

[ … ] Hunger Moon,
and one called crust.

This is the moon of the unfuckable.
Between my boots and the rutted earth,
a skin of ice breaks.

This book is skillfully written and worth reading for that reason alone. Its actively beating and, at times, raw and raging heart, is representative of our times.

Editor’s note: There is an introduction to In September They Draw Down the Lake, written by Ilya Kaminsky, author of Deaf Republic, which concludes with these words: “In a time of so much crisis, what a pleasure to read this kind, loving, beautiful work.”

Suzanne Simmons’ poems, essays and photographs have been published in the NYTimes, Fifth Wednesday, Rattle, Smartish Pace, The Baltimore Review and numerous other journals. Her chapbook In September They Draw Down the Lake was released by Alexandria Quarterly Press in 2020. Visit her at

Title: In September They Draw Down the Lake
Author: Suzanne Simmons
Publisher: Alexandria Quarterly Press, 2020

Price: $14

Bill Rector is a retired physician. He formerly edited the Yale Journal of Humanities in Medicine. His publishing credits include a full-length poetry collection entitled, bill, through Proem Press, and five chapbooks: Lost Moth, about the death of his daughter, which won the Epiphany magazine chapbook competition; Biography of a Name (Unsolicited Press), relating the death of Jimmy Hoffa to contemporary American culture; Brief Candle (Prolific Press), a series of sonnets in modern idiom about selected characters from Shakespeare; Two Worlds (White Knuckle Press), relating the transcendent to the ordinary, which the editors called one of the most beautiful collections they have published; and most recently, Hats are the Enemy of Poetry (Finishing Line Press).

Risa Denenberg is the curator at The Poetry Cafe.

Elijah B Pringle, III

Elijah B Pringle, III, Artivist. A former Training Specialist and Director of Training, currently on sabbatical, is focusing his time on writing and editing. He is an advisor for Moonstone Art Center and a poetry editor for ToHo Journal.  Elijah has appeared on Stage, Radio and TV and was one of the hosts for Who Do You Love? a talk show on PhillyCam created by Warren Longmire to discuss writers.  He has been published both nationally and internationally.  Elijah comes from a strong tradition of educators and has facilitated numerous workshops.  He is finishing pre-production work on his play “Should Be …”