<?xml version="1.0" encoding="UTF-8"?>
<GoodreadsResponse>
	<Request>
		<authentication>false</authentication>
		    <method><![CDATA[]]></method>
	</Request>
	<review id="26889829">
    <user id="113906">
    <name><![CDATA[Jee]]></name>
    <location><![CDATA[Woodside, NY]]></location>        
    <url><![CDATA[http://www.goodreads.com/user/show/113906-jee-koh]]></url>
  </user>
      <rating>1</rating>
  <votes>1</votes>
  <sell_flag>false</sell_flag>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
      </shelves>
  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Wed Aug 20 00:00:00 -0700 2008</read_at>
  <date_added>Thu Jul 10 14:31:49 -0700 2008</date_added>
  <date_updated>Tue Jan 06 03:02:30 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[<strong>Crested Butte</strong><br/><br/>These are poems about the female body, sex, and sexual politics. They try to be playful and deep, but I find most of them tiring and slight. All of them are written in fourteen lines, but only in a few instances--&quot;Proposition,&quot; &quot;Connecticut Sonnet,&quot; &quot;Odalisque&quot;--does the form find its justification in the content. The language is an uneasy mixture of registers: slangy, crude, academic, lyrical, archaic. Sometimes, unintentionally funny, as in the title poem, which opens the collection. Describing sex as a gallop up a mountain, the sestet goes:<br/><br/>The steeds bear us upslope.<br/>We reach the muddy cleft<br/>between Maroon Bells<br/>and Crested Butte, gnawing<br/>on caribou and warmed<br/>liver of once noble elk.<br/><br/><br/>Maroon Bells? Crested Butte? <br/><br/>The poems are organized into four numbered sections. I find the second most wearying. The poems in it have titles like &quot;Preposition&quot; and &quot;Pronoun/Punctuation.&quot; &quot;Conjunctions&quot; begins:<br/><br/>Furthermore, until but<br/>dethrones however<br/>while nevertheless pilots<br/>since out of that's<br/><br/>atmosphere . . .<br/><br/><br/>This is the kind of poem a bright middle-schooler, bored during a grammar lesson, might scribble on the back of a worksheet. At times, the wordplay, combined with a strong evocation of situation, is urgent and direct, as in the opening of &quot;Breathe When I Expire&quot;:<br/><br/>the here is the why of summer this sentimental hole wedged<br/>between Paris Provence and a labored wedding<br/><br/>removed from the when of death and rain the where of a scream and a white face<br/>the how of the gash the blue bone and the fall into the pillow<br/><br/><br/>but, much more often, the wordplay seems decorative, even obstructive. When the poet drops the mannerism, and writes with a plain honesty, her little scenes resonate beyond their chosen confines.<br/><br/>Girlhood<br/><br/>Alone in the basement<br/>hiding naked behind<br/>the washing machine,<br/>I spied on my father<br/>looking for his ironed<br/>shirt, watched two<br/>repairmen work on the<br/>furnace and heard<br/>another flush out the <br/>drains.<br/>             Girl, soundless,<br/>pinned between the hot-<br/>water hookup and the<br/>AC adaptor on an ever-<br/>lasting winter morning.]]></body>
    <url><![CDATA[http://www.goodreads.com/review/show/26889829]]></url>
</review>

</GoodreadsResponse>