Interpersonal relations -- Poetry. |
Animals -- Poetry |
Poetry. |
Human relations |
Interpersonal relationships |
Personal relations |
Relations, Interpersonal |
Relationships, Interpersonal |
Social behavior |
Available:
Library | Shelf Number | Shelf Location | Status |
---|---|---|---|
Searching... Bridgewater Public Library | 811 LIMON 2022 | NONFICTION | Searching... Unknown |
Searching... Fall River Main | 811.6 L734 | Stacks | Searching... Unknown |
Searching... James White Memorial, E. Freetown | 811.6 LIM 2022 | NONFICTION | Searching... Unknown |
Searching... Mattapoisett Free Public Library | 811 LIM 2022 | NONFICTION | Searching... Unknown |
Searching... Norton Public Library | 811.6 LIM 2022 | NONFICTION | Searching... Unknown |
Searching... Raynham Library | 811.6 LIM 2022 | NONFICTION | Searching... Unknown |
Searching... Rehoboth - Blanding Free PL | 811.6 LIM | NONFICTION | Searching... Unknown |
Searching... Swansea Public Library | 811.9 LIM | NONFICTION | Searching... Unknown |
Bound With These Titles
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Summary
Summary
An astonishing collection about interconnectedness--between the human and nonhuman, ancestors and ourselves--from National Book Critics Circle Award winner, National Book Award finalist and U.S. Poet Laureate Ada Lim贸n.
"I have always been too sensitive, a weeper / from a long line of weepers," writes Lim贸n. "I am the hurting kind." What does it mean to be the hurting kind? To be sensitive not only to the world's pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings--and to know that those beings are resolutely their own, that they "do not / care to be seen as symbols"? With Lim贸n's remarkable ability to trace thought, The Hurting Kind explores those questions--incorporating others' stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families. Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. "Slippery and waddle thieving my tomatoes still / green in the morning's shade," writes Lim贸n of a groundhog in her garden, "she is doing what she can to survive."Reviews (2)
Publisher's Weekly Review
The tender, arresting sixth collection from Lim贸n (The Carrying) is an ode to the cycle of birth, death, and rebirth that characterizes the natural world. The work is divided into four sections (after the four seasons), and is frequently set in the poet's garden. In this Edenic location, Lim贸n observes the flora and fauna, which can lead to personal revelations. In "Foaling Season," the speaker describes a pasture full of mares and their foals, which allows her to reflect on her decision not to have children. Lim贸n's descriptions of animals are richly evocative; a groundhog is "a liquidity moving, all muscle and bristle... slippery and waddle-thieving my tomatoes." The title poem movingly pays homage to the poet's family and ancestors as she recalls how her grandparents told her "never/ to kill a California King, benevolent/ as they were, equanimous like earth or sky, not// toothy like the dog Chaco who barked/ at nearly every train whistle or roadrunner." In the "Summer" section, Lim贸n contemplates cockroaches and spiderwort, then briefly recalls a trip to Argentina before declaring, "And now the world is gone. No more Buenos Aires or Santiago." Lim贸n's crystalline language is a feast for the senses, bringing monumental significance to the minuscule and revealing life in every blade of grass. (May)
Booklist Review
If a bestiary is a treatise on animals, then Lim贸n's sparkling sixth poetry collection brilliantly expands the genre, which may be no surprise for a poet once accused of being "all fauna and no flora." Indeed, Lim贸n (The Carrying, 2018) has created much more than a zoological catalog; the poet's bright and clear-eyed lyrics extract the most profound tenderness from the simplest moments. A copperhead snaking around a boy's arm forms deceptive circles, "both a noun and a verb and a story that doesn't end well." Translucent newborn scorpions are "filaments / of nightmares," dark magic in a mason jar. Two large crows are "Odin's ravens, the bruja's eyes." And there is flora. Forsythia reminds the speaker of her dying stepmother's cries of "More yellow!" Elsewhere, Lim贸n measures time in evocative, unexpected ways. "Anticipation" is a quick column of retrospection, reflecting on difficult days gone by, culminating in "crimson / linen curtains / billowing in / liquid spring / wind." Another speaker characterizes time as an "envenomed veil of extremes--loss and grief and reckoning." An understated, powerful, unforgettable collection, and no doubt one of the best of this year.
Excerpts
Excerpts
Give Me This 聽 I thought it was the neighbor ' s cat back to clean the clock of the fledgling robins low in their nest stuck in the dense hedge by the house but what came was much stranger, a liquidity moving all muscle and bristle. A groundhog slippery and waddle thieving my tomatoes still green in the morning ' s shade. I watched her munch and stand on her haunches taking such pleasure in the watery bites. Why am I not allowed delight? A stranger writes to request my thoughts on suffering. Barbed wire pulled out of the mouth, as if demanding that I kneel to the trap of coiled spikes used in warfare and fencing. Instead, I watch the groundhog closer and a sound escapes me, a small spasm of joy I did not imagine when I woke. She is a funny creature and earnest, and she is doing what she can to survive. Invasive 聽 What's the thin break inescapable, a sudden thud on the porch, a phone vibrating with panic on the night stand? Bury the broken thinking in the backyard with the herbs. One last time, I attempt to snuff out the fig buttercup, the lesser celandine, invasive and spreading down the drainage ditch I call a creek for a minor pleasure. I can do nothing. I take the soil in my clean fingers and to say I weep is untrue, weep is too musical a word. I heave into the soil. You cannot die. I just came to this life again, alive in my silent way. Last night I dreamt I could only save one person by saying their name and the exact time and date. I choose you. I am trying to kill the fig buttercup the way I'm supposed to according to the government website, but right now there's a bee on it. Yellow on yellow, two things radiating life. I need them both to go on living. Drowning Creek 聽 Past the strip malls and the power plants, out of the holler, past Gun Bottom Road and Brassfield and before Red Lick Creek, there's a stream called Drowning Creek where I saw the prettiest bird I'd seen all year, the Belted Kingfisher, crested in its Aegean blue plumage perched not on a high nag but on a transmission wire, eyeing the creek for crayfish, tadpoles, and minnows. We were driving fast back home and already our minds were pulled taut like a high black wire latched to a utility pole. I wanted to stop, stop the car to take a closer look at the solitary stocky water bird with its blue crown and its blue chest and its uncommonness. But already we were a blur and miles beyond the flying fisher by the time I had realized what I'd witnessed. People were nothing to that bird, hovering over the creek. I was nothing to that bird that wasn't concerned with history's bloody battles or why this creek was called Drowning Creek, a name I love though it gives me shivers, because it sounds like an order, a place where one goes to drown. The bird doesn't call the creek that name. The bird doesn't call it anything. I'm almost certain, though I am certain of nothing. There is a solitude in this world I cannot pierce. I would die for it. Excerpted from The Hurting Kind by Ada Lim贸n All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.Table of Contents
1 Spring | |
Give Me This | p. 3 |
Drowning Creek | p. 4 |
Swear on It | p. 5 |
Sanctuary | p. 6 |
Invasive | p. 7 |
A Good Story | p. 8 |
In the Shadow | p. 9 |
Forsythia | p. 10 |
And, Too, the Fox | p. 11 |
Stranger Things in the Thicket | p. 12 |
Glimpse | p. 13 |
The First Lesson | p. 14 |
Anticipation | p. 16 |
Foaling Season | p. 17 |
Not the Saddest Thing in the World | p. 20 |
Stillwater Cove | p. 22 |
2 Summer | |
It Begins with the Trees | p. 27 |
Banished Wonders | p. 29 |
Where the Circles Overlap | p. 31 |
When It Comes Down to It | p. 33 |
The Magnificent Frigatebird | p. 34 |
Blowing on the Wheel | p. 35 |
Jar of Scorpions | p. 37 |
The First Fish | p. 39 |
Joint Custody | p. 40 |
On Skyline and Tar | p. 41 |
Cyrus & the Snakes | p. 42 |
Only the Faintest Blue | p. 44 |
Calling Things What They Are | p. 47 |
"I Have Wanted Clarity in Light of My Lack of Light" | p. 48 |
Open Water | p. 50 |
Thorns | p. 51 |
The Mountain Lion | p. 52 |
3 Fall | |
Privacy | p. 55 |
It's the Season I Often Mistake | p. 56 |
How We See Each Other | p. 57 |
Sports | p. 59 |
Proof | p. 61 |
Heart on Fire | p. 62 |
Power Lines | p. 63 |
Hooky | p. 65 |
My Fathers Mustache | p. 67 |
Runaway Child | p. 68 |
Instrumentation | p. 71 |
If I Should Fail | p. 72 |
Intimacy | p. 73 |
4 Winter | |
Lover | p. 77 |
The Hurting Kind | p. 78 |
Against Nostalgia | p. 86 |
Forgiveness | p. 87 |
Heat | p. 89 |
Obedience | p. 90 |
The Unspoken | p. 91 |
Salvage | p. 92 |
What Is Handed Down | p. 93 |
Too Close | p. 94 |
The End of Poetry | p. 95 |
Notes & Acknowledgments | p. 97 |