Lynette Esposito

Pavement by Rustin Larson

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By Lynette Esposito

Rustin Larson’s poetry volume, Pavement, is more than slim with only 14 poems but it is also more than powerful.  When I read the last poem on page 33, I wanted more; it can’t be over already.  I was left on the pavement struggling, visualizing and wishing I was not stuck in “nowhere.”  Larson’s tight focus, innovative literary technique, and clearly defined imagery lead the reader down his many forms of pavement.

Larson provides a tight focus on the image of pavement in each of his fourteen poems as well as entitling this tome Pavement.   Each poem is entitled Pavement with a number after it going from Pavement 1 to Pavement 14. This almost over focus works well here as the starkness of the multiple references and suggestions are revealed.  In Pavement 1, the narrator observes a man in a bathrobe smelling of urine coming into the health shop

where he has gone for a cup of barley soup.  The poetic lines are unevenly set up in length and indention which I like in the flow of this one-stanza poem.  The suggestion of a health shop where one can pay to be healthy but turns someone obviously unhealthy and desperate out to the pavement serves as irony at its best especially when the clerk goes to wash her hands after touching his bathrobe.

In creating his poems, Larson uses standard literary techniques and images in innovative ways.  Diane Frank, author of Canon for Bears and Ponderosa Pines comments …

Pavement breaks into new territory.  Larson, for example, says in Pavement 5, The Pallbearer has a rat’s tongue. So many suggestions of what this means almost assail the reader’s imagination and visualizations of funerals he/she has attended.  Just like Larson says in Pavement 4, Things we play with at home and mentions matches.  The settings of funerals and home are places the reader has been and felt secure in but the images take the readers out of that “comfort” zone. While Larson uses standard stanza formats, he fiddles successfully with line length and spacing to allow his meaning and images to form a visual of stepping and sidestepping on the underlying pavement.

Another example of Larson’s use of innovative imaging is In Pavement 13.   Larson says Part of you drinks sunlight.  This is a life story of a Norfolk Pine with a dream and hope about life. The metaphor extends beyond the seedling to anyone who has wanted to amount to something with the exception of being an overworked accountant.

All I can say is I loved this book and I am thirsty after reading it.  I want more.

Rustin Larson is a graduate of the Vermont College MFA in writing. His poems have appeared in The New Yorker, The Iowa Review, North American Review and others.  He is the author of Wine-Dark House (Blue-Light Press 2009) and Crazy Star (selected for the Loess Hills Book Poetry Series in 2005. He has also won many prizes for his work.

You can find the book here: https://www.amazon.com/Pavement-Rustin-Larson/dp/1421837781

Lynette G. Esposito has been an Adjunct Professor at Rowan University,  Burlington County and Camden County Colleges. She has taught creative writing and conducted workshops in New Jersey and Pennsylvania.  Mrs. Esposito holds a BA in English from the University of Illinois and an MA in Creative Writing and English Literature from Rutgers University.  Her articles have appeared in the national publication, Teaching for Success; regionally in South Jersey Magazine, SJ Magazine. Delaware Valley Magazine, and her essays have appeared in Reader’s Digest and The Philadelphia Inquirer. Her poetry has appeared in US1, SRN Review, The Fox Chase Review and other literary magazines. She has critiqued poetry for local and regional writer’s conferences and served as a panelist and speaker at local and national writer’s conferences.  She lives with her husband, Attilio, in Mount Laurel, NJ.

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Daphne and her Discontents by Jane Rosenberg LaForge

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By Lynette Esposito  

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Jane Rosenberg LaForge writes of Daphne and her Discontents
in her 78 page poetry volume published by Ravenna Press.
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LaForge explores the mythology of the minor goddess Daphne changed into a tree by her father so she would be protected from Apollo’s carnal desire. She interprets the perception of protection versus punishment as she exposes her own life through Daphne’s transformation and her own changing life.
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In the poem, Introducing  Daphne. LaForge directly links herself to Daphne.
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                       The myth I have chosen to explain
                       myself rests in oil and marble:
                       One incontrovertible at its final
                        arrival, the other capable of separation
                        into terraces, an archaeological
                        rendering of lime, and flavor.
                       That was me, once, before I changed
                       To outrun my fidelity and desire;…
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She ends the poem with the words, conservator’s suffocating power. She intertwines
the examination of her feminine self and the protection that smothers her.  The tone and images presented in the poem work well with the subject matter.  LaForge has a light but clear touch in revealing her message (s) to the reader.
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All through the book LaForge accomplishes this strong approach.   In Mount Olympus II, she writes: We should have met in air as the tops of trees do.  The image is lovely and presents a clear visual.  It excites the imagination to look up and see the tops of trees moving in the breeze and touching each other like lovers.
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She writes in Pre-Daphne, Before my father turned me into a tree, I was fire and all the atomic numbers…. She suggests that she was not born the way Daphne became. The father changed her into a vehicle that would offer her protection but he basically changed her into an unmovable structure…no longer what she was.  She was “hands” and “feet”
but no more. I like her use of body parts to suggest the whole.
Throughout the book, the presentation of a transforming Daphne is used over and over but always fresh.  In the poem Danger Prone Daphne, LaForge writes,
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                                Daphne will always need
                                Rescuing, by saints, or angels
                                 Or contemporary females of
                                  no consequence, because only
                                 they can acknowledge the expediency
                                in her deliverance…
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She acknowledges at the end of the poem that I am Daphne, and why.
The volume is well focused and presents images that are both fresh and interesting. Her last poem, Post- Daphne, she acknowledges, I did not fit the myth over and over again like a kind of slacker Sisyphus: It is a fitting end poem pulling together the myth of a goddess and a living poet.
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Jane Rosenberg LaForge’s have been published extensively on line and in print.  Her work has been nominated for a Pushcart Prize.  She is a former journalist and college teacher, and lives in New York with her husband and daughter.
 For information on this paperback volume go to ravennapress.com.
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Lynette G. Esposito has been an Adjunct Professor at Rowan University,  Burlington County and Camden County Colleges. She has taught creative writing and conducted workshops in New Jersey and Pennsylvania.  Mrs. Esposito holds a BA in English from the University of Illinois and an MA in Creative Writing and English Literature from Rutgers University.
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Hap & Hazard and the End of the World by Diane DeSanders

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By Lynette Esposito

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Hap & Hazard and the End of the World by Diane DeSanders is a 286 page novel written from the viewpoint of a young girl trying to understand the adult world around her.

Set in Texas during the 1940’s, innocence is challenged by situation, choice and misunderstandings.  The observations of the young narrator draw a clear picture of how a youngster can see but not understand the mysteries of adults, their issues and the choices they make.

It is difficult to sustain the strength of the storyline when it is presented from the viewpoint of a juvenile but DeSanders does an adequate job for the most part. She is creative with her chapter titles which serve as guides to the points made and symbolic messages suggested. For example, Lone Star Oldsmobile and Cadillac is the first chapter title and the situation involves a car ride with our narrator in the backseat and her father driving. In the chapter, I Call Him Nathan, the narrator details a friendship with a boy who is a foster child whose choices are not very good and the adults who choose to turn him out.  In the final chapter, The Bullfrog, our young narrator tries to interpret the frog’s situation allegedly trapped in a chlorinated swimming pool and relate it to her understanding of reality.

 DeSanders places the narrator in family situations where, while she is present, the adults do not really notice her and talk more at her than to her. The young girl details the happenings to the reader without realizing the complexities of what is going on.  It is as if the reader is in the room and is reviewing, with the narrator, the mundane family happenings and the stark loneliness\ of some of the characters. The characters exhibit much psychological pain in their reactions to every day life and our young narrator is confused as to why the adults around her are acting as they do.

Although this is not a novel about solutions, it is a novel about situations that are common to the majority of average people who have hopes and dreams often unrealized.It is a novel about the vulnerability of childhood and all of us.

DeSanders is a fifth generation Texan and a history buff.  This is her first novel.

She also has an active interest in the theater arts and sings in New York. The paperback is published by Bellevue Literary Press. For information on their titles go to blpress.org.

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Lynette G. Esposito has been an Adjunct Professor at Rowan University,  Burlington County and Camden County Colleges. She has taught creative writing and conducted workshops in New Jersey and Pennsylvania.  Mrs. Esposito holds a BA in English from the University of Illinois and an MA in Creative Writing and English Literature from Rutgers University.

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Single Woman by Dell Lemmon

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By Lynette Esposito

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In the Mudfish Individual Poet Series number 10, Dell Lemmon presents Single Woman, a collection of confessional style poems using images from everyday living to represent a lifestyle and a life.
The 105 page paperback is divided into five parts.  The poems range in subject matter to include dogs, cats, dolphins and the sewers of Paris from the viewpoint of a woman revisiting her perspective of her own life and the suggestion of how others evaluate her.
The poems are mostly free verse using images the narrator chooses from locations and situations such as when she babysat in France to when her mother died and she inherited her coats.  The use of everyday language is appealing and the clarity of presentation helps the reader appreciate how symbolic daily incidents can be.
In her poem, Yankee Candle, Lemmon explores the usually dreaded doctor’s appointment where one faces an honest truth about one’s body.
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          At my bi-annual doctor’s check-up, my doctor told me only a few more
          Ponds and I would officially be obese.
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She proceeds in the poem to detail weight gain and the why of it.  The poem has more a sense of rebellion rather than resignation as she speaks of pecan pie.

The poems are conversational in nature as if the narrator is not only talking to herself but also to the reader.   In her poem, Congratulate Yourself, she talks about the things you promise yourself when you were child:  I wanted to live without lying…I wanted to live without hurting other people.  She addresses the issue of failing.

If you like poems that border on prose and images that suggest complexity through simplicity, this is an enjoyable poetry collection .

 You can find the book here: Single Woman

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Lynette G. Esposito has been an Adjunct Professor at Rowan University,  Burlington County and Camden County Colleges. She has taught creative writing and conducted workshops in New Jersey and Pennsylvania.  Mrs. Esposito holds a BA in English from the University of Illinois and an MA in Creative Writing and English Literature from Rutgers University.

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