From Publishers Weekly
How can a poet's style reflect the dislocations of New York after 9/11, the insensate wreck he sees in American politics and the particular gifts and difficulties of Arab-American heritage? Joseph (
Before Our Eyes) answers those questions in this, his fourth and strongest book of verse, with a dizzying mix of abstractions, urban details and nuggets of historical fact. (FSG will republish Joseph's first three books in September as
Codes, Precepts and Taboos.) "The two things that are interesting," Lawrence muses, "are history and grammar," envisioning both as "wild and fragile." At times his verse focuses squarely on politics: "What—let's say— twelve years from now," he asks, "will the zone of suffering that exists/ outside the established orders look like?" In another poem, "The state of the physical world," finally, "depends on shifts in the delusional thinking/ of very small groups." The same poem brings in images from Revelations ("the seven-headed beast from the sea"), from Ground Zero, from factory life, from a photographic still life and from the hard life of the poet's immigrant father. Joseph's "dream technique" of juxtapositions and exclamations derives from the late style of Robert Lowell, from whom he also takes one of his titles, updating Lowell's Vietnam-era frustrations for the era of smart bombs and globalization.
(Sept.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Joseph is an attorney as well as a poet, which accounts for the legal tone of the title of his retrospective collection,
Codes, Precepts, Biases, and Taboos. Joseph also has a penchant for reasoning, yet these are molten works, and reading through his earlier poems is to journey through his poetic and philosophical development. Beneath the stable crust of memory is a search for identity. Joseph delves into his ancestry by considering his Lebanese and Syrian Catholic grandparents' homelands and history, and their place as Arab emigrants in the U.S. Through reflection on this heritage and the violence of his Detroit childhood, Joseph ponders anger, choice, and fate.
Into It, which collects his newest work, reveals a different poetic voice, one that is more abstract and fluid. Here Joseph is less narrative-based and more symbolic, less angry and more disillusioned, less personal and more universal. Many lyrics seem "coded" with essayistic digressions that gracefully intertwine question, observation, and emotion. Being a New Yorker in a 9/11 world has certainly resonated with Joseph, and the melancholy, grief, and hope of so many people coming to grips with large-scale violence is palpable. Many of these poems are deftly painted (perhaps an influence from his painter wife) with feeling as brushstroke, judgment as perspective, language as dimension, metaphor as theme. Janet St. John
Copyright © American Library Association. All rights reserved