From Publishers Weekly
Nobles's second collection presents two distinct poetic sensibilities. The bulk of the book works squarely in the time-honored American tradition of sentimental realism, but numerous poems evince the influence of Continental surrealism and expressionism. While neither approach is consistently successful here, Nobles fares better when working in the American grain. The book's first two sections contain many of its strongest moments, as Nobles quietly plumbs themes of time and memory with a wrought attentiveness to the natural world and a number of quotidian, often antique or castaway, objects: "Chipped white ceramic,/ with little green left,/ legs knocked off,/ hands clasped, upward dredged/ distorted grimace,/ a drunkard's image/ of what a saint might be." Far too often, however, descriptive imagery can stray into cloying sentiment: "everything is distant, hidden/ in time's mystery, a deep happiness/ that floats with me, within me,/ on my small raft." Poems on the difficulties of desire can fall prey as well ("Lust is like a canyonAsteep, rugged,/ a long way down"), or turn aggressive, as when a rat emerges from the toilet and wages an intimate attack on the speaker, "followed by rat after rat after rat." Not all of Nobles's figurative or expressionistic efforts are this graphic, but many are as self-indulgent. The book's final section, however, a long collage poem about childhood, shows Nobles attempting to synthesize his approaches, hinting at the promise of a next collection. (Aug.)
Copyright 2000 Reed Business Information, Inc.
From Library Journal
Nobles's second collection, following the well-received Through One Tear, continues to explore the border between the metaphysical and the surreal. Having worked as a stone mason for many years (he's now a university risk manager), Nobles recalls, in voice and circumstance, other New England poets from outside the academyDFrost, Stevens, and BishopDwho sharpened their imaginations on homely bits of daily life. In the first of four sections, stone work is used to evoke the obsessive, painstaking work of writing, somewhat like Frost's apple picking. In the title poem, the narrator builds a flagstone walk; in another, he finds "the exact right stone./ But that wall was finished/ (the house, where was it?) several years ago." The next section, "Twelve Magazines," uses Vogue, Field & Stream, and other journals as springboards for sensual ruminations on the relics and fetishes of lost lives. A third section deals with love relationships in the present. The book ends with "A Small Cluster of Stars," an impressive long poem about a painful childhood that cuts to the heart without sentimentality. While Nobles falls into metaphorical patness at times, he can also move beyond safe borders into exciting territory. Recommended.DEllen Kaufman, Dewey Ballantine LLP Law Lib., New York
Copyright 2000 Reed Business Information, Inc.