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raloveridge's review against another edition
5.0
Fantastic. Utterly captivating poems, playful and poignant. I'd recommend this to anyone who loves good poems!
(And just a note: this Kathleen Winter is NOT the author of [b:boYs|2744|Anansi Boys|Neil Gaiman|http://photo.goodreads.com/books/1327870211s/2744.jpg|1007964]—this is a different Kathleen Winter altogether, and this book, which won The Elixer Press 2011 Antivenom Poetry Award, is her gorgeous debut collection.)
(And just a note: this Kathleen Winter is NOT the author of [b:boYs|2744|Anansi Boys|Neil Gaiman|http://photo.goodreads.com/books/1327870211s/2744.jpg|1007964]—this is a different Kathleen Winter altogether, and this book, which won The Elixer Press 2011 Antivenom Poetry Award, is her gorgeous debut collection.)
serenaac's review against another edition
5.0
Nostalgia for the Criminal Past by Kathleen Winter, whom I interviewed for 32 Poems in 2011, is a piece of art that should be hung on the wall. And like all art, there are references to other artists and art types within her poems, but there is more here — the art of being human. In the first three sections, Winter carefully tailors each poem to touch on the connections we have to our animal selves, from the mischievous prankster in Eve who entices the snake to eat Adam in the Garden of Eden merely because she is bored in “Escape from Eden” to razor sharp focus of a hawk eying its prey in “Edge of February.”
There is a telling epigraph from Virginia Woolf, “I do not believe in separation. We are not single.” that establishes the direction of Winter’s work as a look at us being separate as well as connected. However, the collection is not only about being separate and being connected, it is about “being naked” and reveling in the “silos of time” we create (“Nostalgia for the Criminal Past,” page 9). There is the past of our relatives and how it reverberates through the younger generations’ lives and how the past they share may be incomplete or slightly altered from reality, like in “Jellyfish Elvis.” The narrator even questions the validity of the past whether told by others or lived, which calls into question whether the past should be revered or remembered and that we should merely live in the moment.
Read the full review: http://savvyverseandwit.com/2012/04/nostalgia-for-the-criminal-past-by-kathleen-winter.html
There is a telling epigraph from Virginia Woolf, “I do not believe in separation. We are not single.” that establishes the direction of Winter’s work as a look at us being separate as well as connected. However, the collection is not only about being separate and being connected, it is about “being naked” and reveling in the “silos of time” we create (“Nostalgia for the Criminal Past,” page 9). There is the past of our relatives and how it reverberates through the younger generations’ lives and how the past they share may be incomplete or slightly altered from reality, like in “Jellyfish Elvis.” The narrator even questions the validity of the past whether told by others or lived, which calls into question whether the past should be revered or remembered and that we should merely live in the moment.
Read the full review: http://savvyverseandwit.com/2012/04/nostalgia-for-the-criminal-past-by-kathleen-winter.html
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