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Splinters Are Children of Wood (Ernest Sandeen Prize in Poetry)

door Leia Penina Wilson

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"The wildly unrestrained poems in Splinters Are Children of Wood, Leia Penina Wilson's second collection and winner of the Ernest Sandeen Prize in Poetry, pose an increasingly desperate question about what it means to be a girl, the ways girls are shaped by the world, as well as the role myth plays in this coming of age quest. Wilson, an afakasi Samoan poet, divides the book into three sections, linking the poems in each section by titles. In this way the poems act as a continuous song, an ode, or a lament revivifying a narrative that refuses to adopt a storyline. Samoan myths and Western stories punctuate this volume in a search to reconcile identity and education. The lyrical declaration is at once an admiration of love and self-loathing. She kills herself. Resurrects herself. Kills herself again. She is also killed by the world. Resurrected. Killed again. These poems map displacement, discontent, and an increasing suspicion of the world itself, or the ways people learn the world. Drawing on the work of Bhanu Kapil, Anne Waldman, Alice Notley, and Mei-mei Berssenbrugge, Wilson's poems reveal familiarity and strangeness, invocation and accusation. Both ritual and ruination, the poems return again and again to desire, myth, the sacred, and body"--… (meer)
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Splinters are Children of Wood by Leia Penina Wilson is intense and raw poetry. This book is the winner of the Ernest Sandeen Prize in Poetry. Each poem describes what it means to be a girl and the poet coming from the Midwest herself, I can totally understand what kind of conditions she must have seen around her that influenced her to write these beautiful poems. It won't be exaggerating to say the world has a unique way of shaping the girls.

Samoan myths are mentioned in these poems in a unique way, thus, carrying an ode to the poet's roots. Also, the poems are punctuated in the most beautiful and intricate way I've ever read. They are almost like paintings. I read each poem more than once just to enjoy the depth of them.
There are three different chapters in the book. There are some beautiful lines, like:"I cut my own throat close my own wound wear my own night descended blood."
"What dream what maiden what full name""how do the promise of heaven and the brokenness of earth correspond -- re: it will rain tonight."
Leia Penina Wilson is an afakasi Samoan poet from the Midwest. I am so much impacted by her poems. Ms. Wilson has definitely increased my love for poetry through this book. The darkness in these poems touched my soul in the most beautiful way.

I thank Edelweiss Plus for introducing me to literature from countries all over the world. I'm so much in love with the diversity I find in various books and yet, they touch my soul in spite of the different language, culture and traditions.
Thank you University of Notre Dame Press for sending the advanced uncorrected page proof to my from across the other end of the world. It means so much. ( )
  madhupal2486 | Feb 20, 2020 |
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"The wildly unrestrained poems in Splinters Are Children of Wood, Leia Penina Wilson's second collection and winner of the Ernest Sandeen Prize in Poetry, pose an increasingly desperate question about what it means to be a girl, the ways girls are shaped by the world, as well as the role myth plays in this coming of age quest. Wilson, an afakasi Samoan poet, divides the book into three sections, linking the poems in each section by titles. In this way the poems act as a continuous song, an ode, or a lament revivifying a narrative that refuses to adopt a storyline. Samoan myths and Western stories punctuate this volume in a search to reconcile identity and education. The lyrical declaration is at once an admiration of love and self-loathing. She kills herself. Resurrects herself. Kills herself again. She is also killed by the world. Resurrected. Killed again. These poems map displacement, discontent, and an increasing suspicion of the world itself, or the ways people learn the world. Drawing on the work of Bhanu Kapil, Anne Waldman, Alice Notley, and Mei-mei Berssenbrugge, Wilson's poems reveal familiarity and strangeness, invocation and accusation. Both ritual and ruination, the poems return again and again to desire, myth, the sacred, and body"--

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