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Wild in the Plaza of Memory, by Pamela Uschuk
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Blending the personal with the political, these poems explore the deleterious effects of adversity and trauma on a global scale, focusing on such subjects as immigration laws, environmental degradation, multinational corporate greed, and the effects of war on women and children. The poet makes unexpected connections between disparate things, drawing from wild nature for imagery while also passionately engaging the reader to become aware of injustice and suffering at home and abroad. The poems are crafted using lyrical language that is at once precise, figurative, and celebratory, creating a collection that is humanitarian and emotionally resonate.
- Sales Rank: #2853679 in eBooks
- Published on: 2012-11-01
- Released on: 2012-11-01
- Format: Kindle eBook
Review
"Accurately envisioned, strongly felt, intricately expressed, these poems establish Pam Uschuk as a powerful and essential author, one of the few able to confront the uninterrupted crisis of our era with tragic joy and an unshaken faith in the instrumental efficacy of art." —Alfred Corn, author, Contradictions
"These poems are matrices of earth creatures, winds, suns and the need to replace travesty with justice. Each is aflutter with bird song and skeleton dance. The book is a mountain climb to vision. We look out over the ruin, the celebration. Wild in the Plaza of Memory is Uschuk's best collection thus far." —Joy Harjo, author, How We Became Human New and Selected Poems: 1975 - 2001
"Uschuk is a recipient of an American Book Award for poetry, and deservedly so, but at ninety-seven pages, Wild in the Plaza of Memory is a long poetry collection, and the poems within are heady stuff. I will reread the book and treasure the poems a few at a time. I hope I can convince other readers to do the same." —www.ContraryMagazine.com
"The 95 pages of poetry in Wild in the Plaza of Memory is a fugue of love, politics and nature, all growing from one another, the three strands crackling with electricity where they touch. . . . These are poems to help us become most like ourselves." —www.ConnotationPress.com
"Pamela Uschuk . . . is one of those poets who can literally write about anything and find a new twist. . . . Some of these works are intensely autobiographical, yes. But others are deeply philosophical. . . . In sum, Wild is a perfectly controlled work of art." —Tucson Weekly (June 28, 2012)
"Uschuk's poems build bridges between the sacred and the fallen. In this way, her work offers hope of transcendence. To walk with this poet along the paths her mind takes is pure joy. To listen to the hymn-like language she uses is a form of receiving the sacred wafer of a linguistic communion." —RATTLE (August 2012)
"In Wild in the Plaza of Memory, Pamela Uschuk creates a collective narrative of the human experience in a stunning portrayal of memory in its entirety, through both small, intimate moments from her speaker's life and shared communal experiences." —Tawnysha Greene, Gently Read
"In Wild in the Plaza of Memory, Pamela Uschuk creates a collective narrative of the human experience in a stunning portrayal of memory in its entirety, through both small, intimate moments from her speaker's life and shared communal experiences." —Tawnysha Greene, gentlyread.wordpress.com
About the Author
Pamela Uschuk is a professor of creative writing at Fort Lewis College, the editor in chief of the literary magazine Cutthroat: A Journal of the Arts, and the author of four volumes of poetry, including Crazy Love, winner of the 2010 American Book Award. A recipient of the Struga International Poetry Prize, her poems have been translated into a dozen languages. She lives in Durango, Colorado.
Most helpful customer reviews
2 of 2 people found the following review helpful.
A fabulous poet! I loved the nature aspect in her poems.
By Cborges
Like the bull elephant on the cover, these poems were strong. Fully willing to bear witness, this poet doesn't shrink from what she sees. Uschuk bored into the cyclical patterns of life--loss, healing and a promise of redemption--with words as haunting as a lone coyote's howl. I liked the fact that she often turned to nature for answers. Her beautiful poems vibrated with flickering wings, melodic warbling and botanical references. One of the most appealing aspects of her work was how, in spite of her brilliant mind, she avoided lecturing. By confessing that she didn't have all the answers, she became like everybody else, like me, trying to balance mundane things with a desire to address spiritual questions. I like poems that work like tools to break into spiritual truths. In this respect, Uschuk's poems were jackhammers.
1 of 1 people found the following review helpful.
The Legacy: Wild in the Plaza of Memory
By Steve Ramirez
Words, well placed, are the most powerful things I know. Wild in the Plaza of Memory by Pam Uschuk is powerful. At times I am reminded of a poet's ancient wanderings through the streets of Shiraz speaking the melodies of truth and compassion, decrying injustice, chasing loneliness with the sounds of the wind mixed with birdsong. At times I am reminded that genius comes in the ability to speak with words imbedded in our souls, words that we cannot find, but that we know all too well. And, when these words are written, and when they cross our mind's eye, we find ourselves within them, and we utter a collective, "Yes." In that moment life is clear, we all belong to the same village, and we tell the loneliness bird to go to hell. There was a time when I reached through the darkness to find something of peace; I found peace in nature. Pam's words touch us in much the same way. They cut through the winter cold like the crack of a raven's call:
how can we open to the first
purple crane's neck blooming against
love's abode wall or notice
the three year old at the wedding
in Afghanistan, her small chest
abloom with bloody roses
or her cry lost
with her mother's to helicopter blades
slapping revenge into blue sky
we all breathe?
At times, these words send us soaring above the tree-tops, mountains, and canyons that reflect our insignificance and majesty:
Wind's so crazy in love with dust
This afternoon she's writing her wild middle name
On the inside of raven's wings, tossing them upside down, narrowly missing trees.
These poems reflect the best in nature and humanity even as they draw images in the sand of how often we fall short. The words and meanings reflect something deeper and remind us of who we are, where we come from, and what we are truly meant to be. I will read them; I will live them, many times in my mortal life...and in the end, I will pass them to someone I love. This...is a legacy.
1 of 1 people found the following review helpful.
The Poetry of Necessity: Pam Uschuk's Wild in the Plaza of Memory
By daniel terry
Wild in the Plaza of Memory lives up to its title. With these poems, Uschuk has opened a public space where all things, all encounters--both beautiful and dreadful--are not only possible, they are inevitable. In this plaza of poetry, the poet moves effortlessly in time and space, addresses the living and conjures the dead, confesses personal losses publicly and public losses intimately.
The collection opens with a an ode to Lorca. It could be said that it takes bravery (some would say, wrongly, hubris) to evoke this poet. Certainly, other poets who have conjured him--directly or indirectly--have been alternately praised and dressed down for it. This said, I can think of more than a few poets who have summoned his ghost successfully (Malena Morling and Virgil Suarez come immediately to mind). Pam Uschuk is now among them:
some nights you fly through the window,
the eye of a hawk on fire,
black gaze gone to blood, gone
to the ropey bones of moonlight,
to the guitars laughing in the blue pines,
to the wet bulls of passion,
to the weft of love abandoned
to oiled rifles in an olive grove
on a sunny day before I was born. Did
they so fear the delicacy of your hands?
This ode, like so many of her poems, is part ornate tapestry of deep image, part protest poem. The poet rarely leaves the realm of public discourse, or activism, even when she is at her most personal and intimate. There is always a sense of wonder and awe in her images, and often a sense of outrage at injustice in her assertions.
This is also part of her bravery. It could be argued that there is a current, poetic aesthetic which often embraces and values language play, sonics, and anything deemed to be "new" (often a manufactured, confounding, mystery, as opposed to the everyday mystery of the human experience which has never been completely translated or transferred by words) over the sincere poem, the urgent poem, the direct poem--and most damning of all to many critics--the emotional poem that, in its wounded fury, attempts to confront social, political, and environmental injustices. Many of the these critics ignore the fact that some of the poets they hold in highest regard were poets of public--as well as private--discourse. Lorca's "Dawn in New York," is one obvious example. There are numerous others. Strange that poems of "pop culture" are also currently embraced, while poems of protest are often not.
Uschuck addresses the contemporary world, but, like Whitman, does not avoid the emotional, the dramatic, the rapturous, or the wide world. In the wild plaza of her poetry, students are murdered in Tehran and the poet responds with sincere anguish:
Say the students know they could die
but demonstrate because silence stings
deeper than a interrogator's electric cord.
Say a poet powers on a computer, half a world away
and blasts toad-sized letters of longing
into cyber space, and the lonely air bursts.
What Uschuk has done with this book is something that could bring poetry back into the hands of the non-poet. She, as Szymborska did before her, questions poetry's place in the world, and, also like Szymborska, gives us an answer. In her poem, "Who Today Needs Poetry," she writes:
not a belt unbuckling or the snap of the triggering
device on the homemade bomb about
to blow in a Kabul market, not the black widow's web
spun to catch wings for her children while we sleep, not
the blue burka slipping over a mother's head,
not a father's prayer rug clotted
with his son's blood. No, not any of these.
Not these.
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