So appreciate this very sound critique by poet Catherine Owen! “a wonderful read”, she writes.
Blurb: Penn Kemp, long listened to for her particular affinity with sounds (I for one will never forget hearing her years ago declaiming a poem that mimicked a stopping heart), focuses more fully on social and environmental contexts/content in Barbaric Cultural Practices as embedded within the deep perspectives of the thoroughly in-tuned, collective-minded individual. From aural pieces like “Night Orchestra” to poems about the bond between poetry and the world such as “Lunar Perplex,” to silly Canadian paeans as in the ditty, “Ode to Tim Two Bitswhopper” and serious calls to action for the earth like “Yes in our Yard”, Kemp’s core is linguistic play in the service of both singing and saying.
Crits: 1/Kemp knows her form, as is evident in many pieces such as “Living Alongside” but with others, her stanzas vary wildly from two to four and back to one line. Greater potency would be achieved…
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