This meditation follows associative patterns that work through questions of point of view and perspective. The poem continues: “We see the sky all around us but / also, we can look down at our own hands.” This poem teaches the reader the scales Banias uses in order to make his music: a patchwork quilt of imagery, the fidelity to syntactical music rather than that of the line’s, the hesitant declarative of its rhetoric. We is moving across / a magnificent sky,” Banias begins “Being With You Makes Me Think About,” a poem whose definitions for the first person plural each open onto another, like a blossom breaking through a blossom breaking through a blossom. How big, how thick, / its shape-ambiguous. In doing so, he makes the claim that “Everything a story,” even as “aloneness only keeps getting bigger.” This aloneness is made apparent by a tender, questioning, and occasionally playful lyric I, a self pluralized by its big-hearted concerns. Here, we find a poem recounting a double mastectomy, a poem that disguises itself as philosophical treatise on pockets, poems that consider the intricacies of gender expression and identity, and poems that catalog the detritus of a life-“shitty toll plazas” gazing for shapes in clouds “a badly pruned bush / across the street.” Some of these poems guide the reader through extended metaphors, whereas others have the wanderlustful associative leaps of a dream others attempt to define-or un-define, as with “Solve for X”-our language, while others dutifully strip-mine contemporary American culture to better understand how we witness and how we isolate. Banias’s poems, however, don’t all act the same, despite the recognizable condition of their voice, a Banias-ness that qualifies them in much the same way that an essential lambness defines all lambs. “At the end of a rope, all lambs act the same,” Ari Banias writes in his first poetry collection, Anybody. “Mud Stuck to our Shoes”: On The Insistence of Harm by Fernando Valverde On Memorial Drive: A Daughter’s Memoir by Natasha Tretheweyīlurring the Obvious: Bluebeard’s First Wife by Ha Seong-Nan “Story Comes From Place”: On Site Fidelity by Claire Boyles New Worlds Forever Measured by the Old: On Burning Province by Michael Prior
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On Just an Ordinary Woman Breathing by Julie Marie Wade The Ductility of Person and Time in Saddiq Dzukogi’s Your Crib, My Qibla Our Final Words: A Review of Eternal Sentences by Michael McGriff The World Owes You Nothing: A Review of Mine! by Michael Heller and James Salzman On Places I’ve Taken My Body by Molly McCully Brown Reverberations and Divinations in Kazim Ali’s The Voice of Sheila Chandra Infinite Entanglements in Allison Cobb’s Plastic: An Autobiographyįrom Apocalypse to Apocalypso: On An Ecotopian Lexicon Near But Not Touching: On The Naomi Letters by Rachel Mennies
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On A Whole World: Letters from James Merrill “In Front of Strangers I Sing”: The Strange Intimacy of Paul Celan Poems That Linger: Peter Campion’s One Summer Evening at the Falls The Aesthetics of Cosmic Feminism: A Review of Magda Cârneci’s FEM Unearthing Memory and Reclaiming the Feminine in Shanta Lee Gander’s GHETTOCLAUSTROPHOBIA How History Claims Us: On Made to Explode by Sandra Beasley “Empire Gold” : A Review of Claire Meuschke’s UPEND Kenyon Review Award for Literary Achievement.Developmental Editing Fellowship for Emerging Writers.
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