In "The Hen Flower," Kinnell wonders, "is it/ the hen's nightmare,
or her secret dream,/ to scratch the ground forever/ eating the
minutes out of the grains of sand," thus suggesting his own
ambivalence about living and dying. Mortality for him is no simple
thing: there are extensions beyond death when, in a killed hen, he
discovers "unborn eggs, each getting/ tinier and yellower as it
reaches back to the icy pulp of what is. . ." or when his feet
re-enliven ghostly footsmells in secondhand shoes. These are
reflective poems in which the author is directly, intensely
present. One recognizes his easily irregular forms, the images of
body-rag and bone beneath the flesh, and the humane concern which
leads him occasionally (and relatively unsuccessfully) to treat
political themes. He makes himself most clearly felt, however, in
such poems as "The Hen Flower" and ones addressed to a child named
Maud - "Under the Maud Moon" and "Little Sheep's Head Sprouting
Hair in the Moonlight" - where image and idea are fused with a
singularly personal immediacy. Consummately lyrical language
sometimes inadvertently beautifies real pain, but this is - giving
the adjective full value - a beautiful collection. (Kirkus Reviews)
Galway Kinnell's poetry has always been marked by richness of language, devotion to the things and creatures of the world, and an effort to transform every understanding into the universality of art.
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