This is a wonderful book of poems from the great poets in America.
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Book Description
Editorial Reviews
Review
"The shock I get from reading them is...from seeing something new in the way of art." -- Kenneth Koch
Inventory opens with "Scattered Vignettes," a raw, hallucinatory work about Lima's mythopoetic origins. The poem records a striking mosaic of abuses at the hands of parents, priests, and various controlled substances. But such stories are not the key to this book. "Poetry," after all, "is pinker / than nature," and the past matters less here than the present and future: "every day is a new instrument." That is, he's got work to do. Instead of holding up a mirror to life, Lima holds up "fingers popping with eyes." These poems don't make sense--nor love--so much as they make for love through the senses. Although love is his great subject, some of Lima's traditional love poems drift lazily into flat cliché. His most wondrous feats are object poems such as "Geranium" and "The Hand"--expansive empathies that suggest a sensually surreal George Herbert. It's here that we taste "the terrible flavor of love." For Lima, a working chef and former New York School bad boy, "Poetry is an expressive cut of meat." So we do sit and eat.
Copyright © 1996, Boston Review. All rights reserved. -- From The Boston Review
“Frank Lima writes poems which...tell you things you know and things you do not know, and are entirely beautiful.” -- Donald Barthelme
“One decade of Suffering City Withdrawal Pains is focused here in the few poems a young man finds in his head..." -- Allen Ginsberg
Inventory opens with "Scattered Vignettes," a raw, hallucinatory work about Lima's mythopoetic origins. The poem records a striking mosaic of abuses at the hands of parents, priests, and various controlled substances. But such stories are not the key to this book. "Poetry," after all, "is pinker / than nature," and the past matters less here than the present and future: "every day is a new instrument." That is, he's got work to do. Instead of holding up a mirror to life, Lima holds up "fingers popping with eyes." These poems don't make sense--nor love--so much as they make for love through the senses. Although love is his great subject, some of Lima's traditional love poems drift lazily into flat cliché. His most wondrous feats are object poems such as "Geranium" and "The Hand"--expansive empathies that suggest a sensually surreal George Herbert. It's here that we taste "the terrible flavor of love." For Lima, a working chef and former New York School bad boy, "Poetry is an expressive cut of meat." So we do sit and eat.
Copyright © 1996, Boston Review. All rights reserved. -- From The Boston Review
“Frank Lima writes poems which...tell you things you know and things you do not know, and are entirely beautiful.” -- Donald Barthelme
“One decade of Suffering City Withdrawal Pains is focused here in the few poems a young man finds in his head..." -- Allen Ginsberg
About the Author
Frank Lima was born in New York City in "Spanish Harlem," 1939. His parents were Mexican/Puerto Rican. After a troubled youth of sexual abuse, gangs, drug abuse, and its consequences, he began studying poetry, having been influenced by Allen Ginsberg, Robert Lowell and Pablo Neruda. He would later go on to receive a Masters from Columbia University and become a significant voice in the New York City poetry scene in the ‘60s along with his teachers Frank O’Hara and Kenneth Koch. In the ‘70s Lima dropped out of the poetry world (although he would continue to write) to devote his time to his family and pursue a career in the food services industry, as he was "classically trained," in his youth, in classical French Cooking. He is now a teacher at the New York Restaurant School where he teaches culinary arts.
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