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The Book of Goodbyes (American Poets Continuum), by Jillian Weise
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Winner of the Isabella Gardner Poetry Award The Book of Goodbyes speaks to a certain deranged love that throws into question sex, legality, gender-politics, disability, and the end of an affair. The book shifts between lyric and narrative, hyper-realism and magical realism, fact and fiction, and is organized like a play with Act I, Intermission, Act II, and Curtain Call.
- Sales Rank: #1138325 in eBooks
- Published on: 2013-08-19
- Released on: 2013-08-19
- Format: Kindle eBook
From Publishers Weekly
Starred Review. Peace makes awful poetry writes Weise in her second collection, in which goodbyes begin long before you hear them/ and gain speed. Split into two main sections—or acts—with Intermission in between and Curtain Call at the end, this is a smart and savvy ode to absences—of a lover, of a self, and of a part of the self, literal and figurative. Weise, an amputee, writes brilliantly about being marked as a disabled poet; in Café Loop, a dialectic between strangers, she writes, I knew her/ from FSU, back before she was disabled.// I mean she was disabled but she didn't/ write like it. Big Logos, Weise's name for her paramour figure, is Li Po sometimes/ and Catullus others, making cameos in varying stages of departure: The thing about him is// he keeps being the thing. You could never/ count on him. I did. Intermission's whimsical, hip fables star anthropomorphic finches, and the Curtain Call's Elegy for Zahra Baker—a philosophical tract on absence, presence, and pain—brilliantly examines the case of a missing person, a young girl with a missing leg. Throughout, Weise's masterfully balanced voice transforms even unique intricacies of her experience into a way to relate to—not alienate—the reader. This is a brilliant book ultimately about connection. (Sept.)
Review
"[The Book of Goodbyes]...is punctuated with an intriguing dip into magic realism." —Charleston City Paper
"…a smart and savvy ode to absences—of a lover, of a self, and of a part of the self, literal and figurative ... This is a brilliant book ultimately about connection.” —Publishers Weekly *Starred* Review
"This book reminds us that the pain of love and loss, in the hands of a powerful wordsmith such as Weise, might just morph into passion, thrill, strength. And that love-suffering can bring us ever closer to lovability because through it we learn to connect, renew, transform.” -Brenda Shaughnessy, The Academy of American Poets
“...unflinching and profoundly relevant poetry … a take on alienation that implicitly indicts all of us.” -Huffington Post
“These fierce, hip, heartbreaking love poems call out to a lover who can’t be lived with or without. They’re humorous, odd, and full of all the unreasonable truth of love. This book is the real thing.” -Publishers Weekly
“Book of Goodbyes is edgy” and “in-your face.” -Library Journal
“Jillian Weise … is a force of nature. This collection follows up her debut, The Amputee’s Guide to Sex, with what happens when sex becomes love that just won’t go away — no matter how unsuitable the beloved seems to be. This is love poetry for the 21st century: hot, hip and heart-rending.” -Craig Morgan Teicher
About the Author
Jillian Weise publishes fiction, nonfiction, and poetry. She is the author of The Amputee’s Guide to Sex, The Colony, and The Book of Goodbyes, winner of the Isabella Gardner Poetry Award. Her work has appeared in The Atlantic, The New York Times and Tin House. Weise has received fellowships from the Fine Arts Work Center in Provincetown, the Fulbright Program, the Sewanee Writers Conference and the University of North Carolina at Greensboro. She is an Assistant Professor at Clemson University.
Most helpful customer reviews
4 of 4 people found the following review helpful.
The Amputee's Dream
By Kevin L. Nenstiel
Jillian Weise is an amputee. Let's discuss that first, because her altered body, and its attendant demands on her spirit, recur early and often in her verse. Does her prosthetic leg make her disabled, disfigured, different? Like the best poets, she resists answering her own questions, preferring the process. After all, her leg isn't her only interesting trait, just the one outsiders see first, and judge.
And that dominates the greatest portion of her verse: not how she responds to her own disability (if that's the word), but how others respond to it. She appears to take it for granted. Poems like "The Ugly Law," about how cities formerly used legislation to keep undesirables out of sight, or "Elegy for Zahra Baker," about a murder victim similarly transformed, unpack how others perceive women with prosthetics.
Therefore, Weise crafts remarkable voice poems, creating wholly realized identities who judge and criticize, dissecting herself vicariously. Sometimes Weise slips among voices, sudden and unannounced, mid-poem, creating a dreamlike texture where everything and nothing coexists simultaneously. At times, it's impossible to determine exactly who's speaking, as in her thirdhand self-examination, "Café Loop":
She had it easy, you know. I knew her
from FSU, back before she was disabled.
I mean she was disabled but she didn't
write like it. Did she talk like it?
Do you know what it is exactly?
She used to wear these long dresses
to cover it up. She had a poem
in The Atlantic. Yes, I'll take water.
But despite this motif, Weise doesn't write a book about her amputation. She's written two previous books; perhaps she's already come to grips with this theme. Instead, she expounds how her condition colors how she receives others, and how others receive her. Friends, lovers, lost loves: this is a book about people communicating, or failing to communicate, with one another.
Recurrent throughout this collection, Weise revisits Big Logos, a mysterious, self-destructive figure and apparently burned-out poet. Weise calls herself Big Logos' mistress, and speaks of his other woman as his girlfriend, lover, wife... Just as other voices meld into a dreamlike gestalt, one suspects Big Logos is an amalgam of men who have hurt her, as in "Semi Semi Dash," which I quote in full:
The last time I saw Big Logos he was walking
to the Quantum Physics Store to buy magnets.
He told me his intentions. He was wearing
a jumpsuit with frayed cuffs. I thought the cuffs
got that way from him rubbing them against
his lips but he said they got that way
with age. We had two more blocks to walk.
"Once I do this, what are you going to do?"
he asked. "I wish you wouldn't do it," I said.
Big Logos bought the magnets and a crane
delivered them to his house. After he built
the 900-megahertz superconductor, I couldn't go
to his house anymore because I have all kinds
of metal in my body. I think if you love someone,
you shouldn't do that, build something like that,
on purpose, right in front of them.
Big Logos arrests Weise's attention: his massive generator, his struggles with ancestry, his apparent violent streak. But who is Big Logos? Weise is inconsistent, probably because she has combined many men to create this monument to her pain. Big Logos becomes, not an individual, but a prism through which Weise examines her own Todestrieb. Consider "Poem For His Ex," where she enumerates her perceived unworthiness:
So what's up? Where are you these days?
Last I heard you worked at a bakery.
Last I read your poems were lower case
with capital content. I used to like
to read them in the dark. It's weird
you're not his girl anymore.
You were the picture in a snow globe
on his desk that I'd go to, shaking,
when he left the room. That room.
Weise's catalog of disappointment could easily slip into a self-parodying dirge. Indeed, she dances close to the maudlin more than once. But she retains her essential humanity, and her readers' loyalty, by keeping her gaze clear during her long, minute self-autopsy. She doesn't make herself either a romantic hero or the dregs of something lesser; she's just herself, capable of emotional extremes like you or I.
Weise might call herself a partial woman. She might call herself a disabled soul. But her ability to know herself, and show what she knows, makes her greater, and more direct. This isn't easy reading. But it is very, very honest.
2 of 2 people found the following review helpful.
Sometimes raw, sometimes searing, always arresting
By Glynn Young
It’s about relationships, whether the subject is an antiquated law about maimed people, a recipe for tilapia, even flower arranging.
Welcome to “The Book of Goodbyes: Poems” by Jillian Weise.
It’s a notable volume, and not only because it was the 2013 winner of the James Laughlin Award for best second book of poetry from the Academy of American Poets. Weise’s first was “The Amputee’s Guide to Sex “(2007), the title of which tells you at least some of what you might expect in The Book of Goodbyes.
A law about maimed or disfigured people (they used to be called “ugly laws” and that’s the title of one of Weise’s poems) is not a figment of the poet’s imagination; the last such law was repealed by Chicago in 1974. Such people were not to be allowed on the streets.
Weise is abrupt, occasionally shocking, and free in her use of language including profanity, which sometimes sneaks up on you when you don’t expect it. Or sometimes you do expect it and it’s missing in action. Weise keeps you guessing, and not only with language. You’re never quite sure where she’s going to take you.
I work with people like that. They’re millennials. Weise captures how they speak and think. And writes poems about how they speak and think.
The Book of Goodbyes is structured like a two-act play, including a titled intermission and an official curtain call. It could simply be an organizing device for the poems. I suspect the structure is designed to suggest we’re attending a play; in fact, we’re part of the play. The language of the poems is urgent and compelling enough to pull us right into the poems themselves.
Up Late and Likewise
It never stopped raining when I was with him
and we were wet and there were parties.
He was from another decade. It was honest.
With some you never can tell but with him
I could. My decade let the POWs come home.
What did you decade do? The thing about him is
he keeps being the thing. You could never
count on him. I did. It never stopped raining
and I could, it was honest, tell.
Would you like to be in the same decade with me?
Would you like to be caught dead with me?
The section entitled “Intermission” includes three longish poems – about two finches in a cave on the Argentine side of Iguazu Falls. The poems are actually much more engaging than that brief summary might imply; the poems use finches but they, like the other poems in this volume, are about relationships, human relationships.
The final poem, the only one included in the section entitled “Curtain Call,” is “Elegy for Zahra Baker.” It’s a prose poem about a missing child, based on a real case in North Carolina in 2010. It’s an angry poem. It should be.
“The Book of Goodbyes” is sometimes raw, sometimes searing, but always arresting and always honest. Even the finches.
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