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Where it Goes
by Martina Reisz Newberry
85 Poems/ 139 Pages/ $17.95
Deerbrook Editions

Reviewed by: Ed Bennett

One of the beauties of poetry is its many shapes and forms. From Terza Rima to Free Verse, Iambic Pentameter to Limericks, there is a place for every taste and talent. While it is necessary to be familiar with all of these forms, many poets choose one and work with it until they evolve toward another form or develop one that is uniquely theirs.

Martina Reisz Newberry’s latest book, Where it Goes, departs from this custom. Within this collection of 85 poems a reader will find Sonnets, Tankas, Prose Poems, Imagist poetry as well as Free Verse in Ms. Newberry’s unique and direct voice. One of her most interesting techniques is how she varies the focus of her poems; some are laser sharp and move directly toward the topic while others begin in a familiar place then flow gracefully to a very different destination. She shows the true mark of a masterful poet in that both of these poem types arrive at a well-crafted conclusion.

In “The Mursi of Ethiopia”, a child listens to adults sitting around a radio. The conversation moves from Orson Welles’ “War of the Worlds” to basketball. In the midst of this conversation with two men trying to impress each other with their knowledge, a child squints through her glasses at a National Geographic article about an Ethiopian tribe. What could have become a jumble of metaphors is instead a tableau of middle class family life. The arguing adults become background noise while the child is immersed in an exotic adventure where both the Morsi and Middle Class merge.

Ms. Newberry’s poetry seems to have its roots in the spiritualism of Blake rather than the “love of nature” of the Romantics. She writes with a stark honesty about loneliness and loss, combining it with a mature, compassionate voice. “About a Man” is a poem reminiscent of EA Robinson’s “Richard Cory”. Like Robinson’s character, her unnamed man is well to do and has no surviving family members.

“He is a perfect

loneliness: dark, dreary, full of blues songs
and burglaries. He rejoices in the
stillness, a quiet not unlike that of

a weed growing out of the sand.”

There is no suicide, as with Robinson but the character in Ms. Newberry’s poem lives in his own perpetual stillness as the poem ends.

“…This man’s heart is
dark with ancient blood, sluggish in his chest…

separate, submissive and unresisting
in the relentless finality of the stars.”

Richard Cory met a tragic end in his suicide. This character, without the benefit of a name, does not find rest. Instead, the reader is given an almost microscopic look into his soul. The tragedy here is not death, but the continuation of his sterile life.

Interestingly, her “philosophy of poetics” is found in “Mustard”:

“When Bukowski was alive,
poems still seemed possible.
Bukowski was one poet
who thought it was lame
to write about butterflies
and rainbows,
and fairies…
Poems were like
the best hot dogs
you ever ate
on Dodger Day
at the stadium.
Lots of mustard
so it gets on your shirt
and nobody in the bleachers
talking about Li ter a tchooor.
Not a word.

Reading Where it Goes is like meeting a new an interesting friend. As each page turns, you are held by the prescience and honesty of the dialog. By the last page, you know that this will be a close and enduring friendship. Martina Reisz Newberry’s poems are a tour de force in style and technique as well as a sterling examination of human emotion and vulnerability.


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