"Here is poetry of courage and passion, which manages to be tender and achingly sensual and what is often called 'political' at the same time. This is a major new voice." -- Margaret Atwood The Country Between Us opens with a series of poems about El Salvador, where Carolyn Forch� worked as a journalist and was closely involved with the political struggle in that tortured country in the late 1970's. Forch�'s other poems also tend to be personal, immediate, and moving. Perhaps the final effect of her poetry is the ...
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"Here is poetry of courage and passion, which manages to be tender and achingly sensual and what is often called 'political' at the same time. This is a major new voice." -- Margaret Atwood The Country Between Us opens with a series of poems about El Salvador, where Carolyn Forch� worked as a journalist and was closely involved with the political struggle in that tortured country in the late 1970's. Forch�'s other poems also tend to be personal, immediate, and moving. Perhaps the final effect of her poetry is the image of a sensitive, brave, and engaged young woman who has made her life a journey. She has already traveled to many places, as these poems indicate, but beyond that is the sense of someone who is, in Ignazio Silone's words, coming from far and going far.
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Good. The pages have an appearance of being read or studied. The pages are sun faded and slightly yellowing. We flipped through this book and didn't notice any notes or underlines. The cover has visible markings and wear. Some corner dings. Fast Shipping-Each order powers our free bookstore in Chicago and sending books to Africa!
The poems of The Country Between Us, by Carolyn Forche, emerged from the poet's witness of the civil war in El Salvador in the 1980s while working for Amnesty International. It does for that war what Picasso's "Guernica" did for the Spanish Civil War, distilling that conflict in all its horror. In her prose poem, "The Colonel," Forche resorts to a surrealist image to convey a distorted reality: "The moon swung bare on its black cord. . ." She juxtaposes opposites to disclose the tension between normalcy and endemic violence: "Broken bottles were embedded in the walls around the house to scoop the kneecaps from a man's legs or cut his hands to lace"; dinner is "rack of lamb, good wine, a gold bell. . .for calling the maid." The menace is palpable: ""My friend said to me with his eyes: say nothing." In the end, the colonel's gesture exposes the war in all its brutality, arrogance, even perhaps a faint note of hope. As the speaker says in "The Visitor," "There is nothing one man will not do to another." This is a poetry of immense courage, of extremity, of the unspeakable.
