Reviews

sax’s poetry recognizes the significance of our interwoven human experience. This work entangles past and present, emphasizing the relevancy of all experiences . . . The reader becomes a part of the show because we are all cast members in this dark production called life. Like sax’s poems in bury it, each of us is a chapter in the production of our interconnected lives.

When Drake sings to an ambiguous “you,” it seldom seems to be directed at a particular individual, but to a composite feeling of anxiety and loneliness that serves as the simulacrum of a real person, a character that could feasibly contain anyone.

Not Hearing the Wood Thrush attempts to account for everything we cannot see beyond our brief lives. It doesn’t answer each question it asks, nor should it, but instead sends those questions like radio waves into spaces made familiar by memory, then made mystical and strange through the loss that lives there.

What marks the writing as particularly unusual, though, is Rooney’s approach to characterization: one receives the impression that Rooney has a programmatic disinterest in depicting her characters’ inner lives. Or rather—and this, perhaps, is what makes her style feel so distinct—Rooney seems allergic to the leveling that’s entailed in consigning an emotional life to language.

Flores is constantly asking himself: What is real art? Is it the band that jams with feel, the boy who builds confidence, the woman who bleeds on stage, or the avant-garde experimenter? Is it accessible or inaccessible? The answer, Flores seems to argue, depends on whether the creator feels it in his soul.