The Woman I Kept to Myself
The works of award-winning poet and novelist Julia Alvarez are rich with the language and influences of two cultures: the Dominican Republic of her childhood and the America of her youth and adulthood. They have shaped her writing just as they have shaped her life.\ Since her first celebrated novel, How the Garcia Girls Lost Their Accents, she has been expressing the passions and opinions of sisters and aunts, mothers and daughters, heroines and martyrs. In The Woman I Kept to Myself,...
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The works of award-winning poet and novelist Julia Alvarez are rich with the language and influences of two cultures: the Dominican Republic of her childhood and the America of her youth and adulthood. They have shaped her writing just as they have shaped her life. Since her first celebrated novel, How the Garcia Girls Lost Their Accents, she has been articulating the passions and opinions of sisters and aunts, mothers and daughters, heroines and martyrs. In The Woman I Kept to Myself, seventy-five poems that weave together the narrative of a woman's inner life, it is Julia Alvarez's own clear voice that sings out in every line. These are not poems of a woman discovering herself--Alvarez might say that's what her twenties were for--but of a woman returning to herself. Now, in the middle of her life, she looks back as a way of understanding and celebrating the woman she has become. And she hides nothing: from her early marriages to her late-in-life love, from the politics that informed her to the prejudice that haunts her still. Her fears, her accomplishments, and the ready humor that permeates even her darkest thoughts are all proffered to the reader.Perhaps the truest words to describe this remarkable collection are the two that give the last section its title: keeping watch. We are pulled into the intimate circle of a woman who keeps us company by sharing the stories and insights that we often keep to ourselves.Publishers WeeklyAuthor of the popular novels How the Garcia Girls Lost Their Accents and In the Time of the Butterflies, Alvarez continues to explore themes of cultural difference and personal experience in her new collection of poems. The book, which marks her fourth collection of poetry, comprises 75 poems of 30 lines each; the formal constraint is an organizing principle for these sometimes meandering autobiographical poems. A good many poems explore her development and status as a writer, specifically as a Latina: "Even I, childless one, intend to write/ New Yorker fiction in the Cheever style / but all my stories tell where I came from." The midsection of the book, "The Woman I Kept to Myself," roams from nostalgic reflections on childhood birthday presents to meditations on eating disorders to speedily resolved family conflicts to personal, and worldwide, losses: "Why did it take so long? Mom and Dad's deaths/ a friend's cancer, a cousin's accident/ the Twin Towers, the war on innocents...." Seeing the first signs of spring sets the world to rights again: "Then suddenly, a daffodil, a patch/ of crocuses... and back into the intact Towers flew/ stick figures, like a film in reverse." Most poems here arrive at similar recastings of hard truths; often, however, one feels that both sides of the equation are too easily won, drawing close to clich and facile reconciliation: "I've woken to the world just as it is," she writes, "and that's enough-in fact, more than enough." (Apr.) Copyright 2004 Reed Business Information.
Family tree3Saman5Weeping willow7Maple, oak, or elm9Arborvitae11Locust13Last trees15Intimations of mortality from a recollection in early childhood19Anger & art21El fotografo23The red pickup25Spic27All-American girl29Bellevue31Abbot Academy33By accident35Vain doubts37First muse39Lunch hour, 197141Heartland43Bad-weather friends45Sisterhoods47Reunion49My bottom line51Love portions53Fights55Tone57Hairbands59Manholes61Canons63My kind of woman65Museo del Hombre67Ars politica69Naming the animals71The animals review pictures of a vanished race73Why don't we ever see Jesus laughing?75Addison's vision77Winter storm79The therapist81Disappearing83Gaining my self back85That moment87Signs89Deathdays91All's clear93Now, when I look at women95At the GYN97Grand baby99Life lines101Spring, at last!103Regreso105In Spanish107You109Leaving English111Meditation113Aficionados115Touching bottom117Cleaning ladies119Tom121I dream of Allen Ginsberg123Famous poet, years afterward125Why I teach127Undercover poet129Small portions131"Poetry makes nothing happen"?133Reading for pleasure135Direct address137Passing on139El sereno143Looking up145What we ask for147What was it that I wanted?149Keeping watch151Why I write153Did I redeem myself?155
\ Publishers WeeklyAuthor of the popular novels How the Garcia Girls Lost Their Accents and In the Time of the Butterflies, Alvarez continues to explore themes of cultural difference and personal experience in her new collection of poems. The book, which marks her fourth collection of poetry, comprises 75 poems of 30 lines each; the formal constraint is an organizing principle for these sometimes meandering autobiographical poems. A good many poems explore her development and status as a writer, specifically as a Latina: "Even I, childless one, intend to write/ New Yorker fiction in the Cheever style / but all my stories tell where I came from." The midsection of the book, "The Woman I Kept to Myself," roams from nostalgic reflections on childhood birthday presents to meditations on eating disorders to speedily resolved family conflicts to personal, and worldwide, losses: "Why did it take so long? Mom and Dad's deaths/ a friend's cancer, a cousin's accident/ the Twin Towers, the war on innocents...." Seeing the first signs of spring sets the world to rights again: "Then suddenly, a daffodil, a patch/ of crocuses... and back into the intact Towers flew/ stick figures, like a film in reverse." Most poems here arrive at similar recastings of hard truths; often, however, one feels that both sides of the equation are too easily won, drawing close to clich and facile reconciliation: "I've woken to the world just as it is," she writes, "and that's enough-in fact, more than enough." (Apr.) Copyright 2004 Reed Business Information.\ \ \ \ \ Library JournalQuotidian events, a storylike structure, and colloquial diction make Alvarez's latest book seem more like a memoir (albeit one written with attention to the sounds of language, especially alliteration) than a book of poetry. The author of four novels (including In the Time of the Butterflies, a National Book Award finalist), Alvarez at her best writes in a style reminiscent of Billy Collins. There are deceptively simple conversational poems, like "Saman" and several others here, which resonate in a bright mesh of metaphors. Yet most of the work in this collection does not attain that level. Some poems, like "Deathdays" and "All-American Girl," have a greeting-card tone; others go on too long, as if Alvarez were afraid that readers might not have understood the actual ending, which usually occurs in the penultimate stanza. Too many poems (e.g., "Why I Write") rely on clich s, few of which are spun out into gold. Recommended for larger public libraries only.-Diane Scharper, Towson Univ., MD Copyright 2004 Reed Business Information.\ \ \ School Library JournalAdult/High School-This tightly structured collection of 75 poems is divided into three sections, and each poem has three stanzas, exactly. Alvarez's voice, however, is as free and strong as the free verse she composes. The poet, who is from the Dominican Republic, writes about being raised with her sisters in New York. The subjects are personal-love, marriage, rejection, divorce, death, religion-but also universal. She says in "Why I Write," "Unless I write things down I never know what I think, no less feel." This book will appeal to readers not only for the eloquence with which Alvarez describes her feelings and discoveries, but also for the humor. In "Abbot Academy" she notes that as a schoolgirl she found that ladies "-learned to be blondies even if they were dark-haired, olive-skinned, spic-chicks like me." Readers who enjoyed How the Garcia Girls Lost Their Accents (1992) or In the Time of the Butterflies (1995, both Plume) will love her poetry. Teens approaching adulthood will appreciate the poet who turned to "paper solitude" and through many drafts discovered "the woman I kept to myself."-Sheila Janega, Fairfax County Public Library, Great Falls, VA Copyright 2004 Reed Business Information.\ \
