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The Sorrow Apartments

ebook
1 of 1 copy available
1 of 1 copy available
About Andrea Cohen's poems, Christian Wiman has said: "One is caught off guard by their cumulative force. This is work of great and sustained attention, true intelligence, and soul." In The Sorrow Apartments, Cohen's eighth collection, those signature gifts are front and center, along with sly humor, relentless economy, and the hairpin curves of gut-punch wisdom. How quickly Cohen takes us so far:
Bunker

What would I
think, coming

up after
my world

had evaporated?
I'd wish

I were water.
The Sorrow Apartments is home to spare and uncanny lyricism––as well as leaping narratives of mystery and loss and wonder. These poems race at once into the past and the possible. And yet, instead of holding things up to the light for a better view, Cohen lifts them to the dark and light, as in "Acapulco," where an unlikely companion points out, "as men tend to, / the stars comprising Orion's belt — / as if it were the lustrous sparks and not / the leveling dark that connects us." For a poet who has been called unfashionable from the get-go, unfashionable never looked so good.
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    • Publisher's Weekly

      April 15, 2024
      The attentive and intelligent eighth book from Cohen (Everything) charts childhood, loneliness, and existential unease with the poet’s trademark mix of philosophical clarity and surprise. In “Purchase,” the speaker finds a wallet belonging to a stranger: “You/ have a dental appointment/ in six days. Don’t/ miss it.” Reflecting on her departure from a job at “Tollbooths of America,” the speaker proclaims: “I preferred the short-term pain/ of leaving to the long-term injury/ of staying in one place” and “Do you think about how you’ll feel/ when you get where you’re/ headed? I never think about a place/ until I’ve left it.” Standouts include “Mercurial”: “We were bored/ to tears, breaking// thermometers open,/ letting the silver//drops spill and scatter and/ reassemble in our hands.// We didn’t understand/ how dangerous that was—// our hands, I mean, meaning// to hold anything.” That sentiment is echoed in the equally memorable “Something,” in which the speaker’s call to an automated machine service turns existential: “I’m sorry,/ the machine says. I’m/ having trouble understanding./ Did you miss today’s paper?/ Yes, I say, but that’s not/ the half of it. Sometimes/ I just feel like half/ of me, and even that/ feels like too much.” Though several of these poems feel uncharacteristically slight in their embracing of brevity, any new collection from Cohen is a gift.

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  • English

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