Mary Jo Salter's sparkling new collection, Open Shutters, leads us
into a world where things are often not what they seem. In the
first poem, "Trompe l'Oeil," the shadow-casting shutters on Genoese
houses are made of paint only, an "open lie." And yet "Who needs to
be correct / more often than once a day? / Who needs real shadow
more than play?"
Open Shutters also calls to mind the lens of a camera--in the
villanelle "School Pictures" or in the stirring sequence "In the
Guesthouse," which, inspired by photographs of a family across
three generations, offers at once a social history of America and a
love story.
Darkness and light interact throughout the book--in poems about
September 11; about a dog named Shadow; about a blind centenarian
who still pretends to read the paper; about a woman shaken by the
death of her therapist. A section of light verse highlights the wit
and grace that have long distinguished Salter's most serious work.
Fittingly, the volume fools the eye once more by closing with "An
Open Book," in which a Muslim family praying at a funeral seek
consolation in the pages formed by their upturned palms.
Open Shutters is the achievement of a remarkable poet, whose
concerns and stylistic range continue to grow, encompassing ever
larger themes, becoming ever more open.
"From the Hardcover edition."
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