By Carmen Giménez Smith
The writer engages in mythology and paintings heritage, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the movie Annie Get Your Gun, Nabokov’s Lolita, fb entries and Greek gods, they seem as a part of the poet’s cultural critique.
Phrases comparable to “the caustic area of urchins” and “the gelatin shiver of tea’s floor” take the poems from lyrical pictures to comedian humor to offended, excessive observation. On writing approximately “downgrading into human,” she says, “Then what? Amorality, osteoporosis and never even a marble estuary for the ages.”
Giménez Smith’s poetic arsenal contains rapier-sharp wordplay combined with humor, every now and then self-deprecating, at others an ironic touch upon the postmodern international, all interwoven with ingenious language of unforeseen strength and surreal attractiveness. Revealing an extended view of gender concerns and civil rights, the writer provides a smart, comedian point of view. Her poems take the reader to strange locations as she makes use of rhythm, photos, and emotion to bare the narrator’s character. Deftly mixing numerous tones and kinds, Giménez Smith’s poems provide a bold and evocative examine deep cultural issues.
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