Katrina Roberts

Underdog

Katrina Roberts

In Underdog , poet Katrina Roberts draws on wide-ranging historical and cultural sources to consider questions of identity, to ask us to meditate on how each of us is “other” – native, immigrant, sojourner, alien – and to examine our at-once shared and foreign frontiers and margins. Throughout the book, the writer’s “home” becomes a palimpsest of characters erased and resurrected. In boldly inventive poems, she addresses the lives of Chinese immigrants, the appeal of African Dogon tribal lore, the heroics and defeats of artists, canine astronauts, and Mexican farm laborers, to name just a few.Dramatic and lyrical, many poems become repositories for spells, memories, and tales. Here landscapes are faces to be studied and memorized; forgotten and overlooked legends and objects (whether quotidian, pop-cultural, ancient, or obscure), as well as characters from this planet and beyond, are retrieved and acknowledged. Other poems are concise prismatic shards, refracting and seeking specific meaning and even beauty in a world that is often both unpredictable and inscrutable. All are stitched together with unflinching compassion and a keen desire to bear witness, to comprehend something of the self’s relevance in a global context.The poems, often meticulously researched, are elaborate matrices of associations, translations, re-imaginings. Age-old mind-body questions emerge: how did we get here, these poems ask urgently, and in what ways will we carry on? What does it mean “to be” and “to belong” in times of crisis? They wonder at how individuals through the ages have handled, often with grace, tremendous injustice, and they seek to comprehend the mysteries of our perpetual migrations away from and toward each other.Their Flight is Practically SilentHe says one thing meaningits opposite. Before water starts to run,an ache in the jaw leaves mespeechless. A packet of photos: each face has beencut out. This one: me, a child holding a waferof sky – a robin’s egg. They used to say you haveher eyes. Another: wrists slashedby light, lifted to offer the world a melon, caught uphair in a twist off the shoulders, the neck,my neck – impossible and elegant – a swan’s.Such grace shocks me. Who is this? That nightbefore the baby died: barn owls calling acrossthe creek. Did he say: Hear them? Neverto be born at all; some peoplewould say not even a baby, not “viable.”A small sound – sizzle of baconcurling on a flat black pan, unseen. His armsre-crossed. And this vesselmade of ash, this monument risingfrom dust? I didn’t want any of it and I said so.

The Quick

Katrina Roberts

The Quick is a book of essences. Katrina Roberts's large-spirited and exhilarating poetry is at once celebratory and elegiac, lyric and narrative, striving to divine what's at the quick of this fleeting existence we share. Anchored in many ways by the long poem «Cantata,» which chronicles her pregnancy and the birth of her son, the book turns and turns its kaleidoscopic lens, settling now on origins and creation myths, now on Greek or Welsh gods, now on a painting by Vermeer or on an article from the daily news, all slipping together to illuminate our coming to consciousness, our coming to «be.»The poems ask how one might reconcile one's simple joys with the world's larger concerns. An inquiry of this depth cannot fail to encounter grief, but it is a grief tempered and transcended by the acceptance of ongoing life, as well as a consistently outward-focused eye and a passion for language. Sparked by Roberts's sharp imagery and daring cadences, this is a fresh and savvy collection, informed by science, myth, music, philosophy, and etymology, all braided within a sinuous narrative line that runs from sorrow to rich celebration.