Danielle Blau, the winner of the Anthony Hecht Poetry Prize, presents her work peep, a highly anticipated addition to the LGBTQIA+ literature scene. Blau, a trained philosopher, ventures beyond the realm of tidy abstract puzzles with her poetry. In peep, she embraces palindromes as a core element of structure and meaning, emphasizing the volume itself as a cohesive poem.
The unique palindromic structure of the book requires readers to engage with each poem both forward and backward. Blau’s poems encourage contemplation as they lead us from the final line back to the beginning, unveiling reflective structures or pivotal turns within. Her work may initially appear enigmatic, akin to a magic trick awaiting discovery beneath the surface—prompting us to peek beneath the illusion and be astounded by what lies hidden.
Blau’s collection is rich with intellectually crafted frameworks. For instance, in the prose poem “Formal Proof That the Universe is Neither Cruel nor Kind, and That This Is the Greatest Conceivable Horror,” she navigates between the abstract and the concrete, seamlessly shifting from grand philosophical concepts to intricate details like “miniature jam jars” and a “darkly dilating ripple.”
In “We’re Human, All of Us Girls, and We’re Young,” a reference to the Triangle Shirtwaist Factory fire, Blau poignantly depicts the aftermath of the tragedy, drawing parallels to the Holocaust. Her portrayal of human resilience amidst catastrophe is hauntingly vivid. Additionally, in “A Suicide Bomber (Eighteen Seconds to Go) Foresees Her Death,” Blau delves into the complex humanity akin to Shakespeare’s Shylock, creating a profound and evocative narrative.
Blau’s verses exhibit a keen observational eye, meticulous craftsmanship, and a touch of unpredictability. While rooted in her Jewish and queer identity, her poems transcend mere confessionalism, portraying a spectrum of personas embodying innocence and wisdom. The interplay between uncertainty, existence, and the unspoken resonates throughout her work.
The utilization of the first person in “The Fear” exemplifies how Blau seamlessly transitions between deep introspection and light-heartedness, offering a glimpse into the multifaceted nature of identity and mortality. The subtle shifts within the poem reflect a palindromic structure, mirroring the essence of fear itself.
Blau’s poetic inversions, such as those depicted in her reflective piece, underline the ability of poetry to dismantle rigid structures and delve into themes of absence, longing, and unresolved narratives. Through the metaphor of the mirror, she emphasizes that reflections do not always signify completeness, but rather hint at fragmentation and open-ended possibilities.
