I read this quote from a twelfth-century verse chronicle by Wace, Roman de Rou, wherein he paraphrases the displeasure expressed by some local serfs at the neighboring nobility’s incorporation of the noncultivated lands that for these serfs had previously been a collective resource, writing, “We can go to the woods and take what we want, take fish from the fish pond, and game from the forests; we’ll have our will in the woods, the waters, and the meadows.”
“Burnt Code,” the opening poem of Christina Olivares’s debut collection, No Map of the Earth Includes Stars, startles in the intimacy of its address: “You devote years to / listening to, interpreting, misinterpreting code.” Here, Olivares’s speaker addresses her father, who is losing himself to schizophrenia. In a long series of poems in the book’s first section, “Petition,” her speaker imparts her memories, recent and long past, and those of her father, to whom the poems adhere in ways he cannot adhere to his own life.
Brandon Brown’s Top 40 is forty poems of forty sentences, each sequentially titled with the name of a song from America’s Top 40 with Ryan Seacrest, where the first poem’s title is the fortieth song of the countdown on September 14, 2013, and the title of the last poem is number 1.
Pop music is an ecstasy for Brown, and it has both collectivity and isolation in it. He writes: