By Molly Brodak
The language of Molly Brodak’s first full-length assortment, A Little heart of the Night, is ever transferring, brightly sonic, and disarming whereas exploring the margin among nature and artwork, darkness and sweetness, desires and awakenings. As echoed in a single epigraph from Emerson, those poems catch “the unique and the enormous” of recognition in extreme lyric verse with an angular and nearly medical sensitivity. here's a speaker motive on discovery: “Oh entire global, we elect / another.”
This award-winning assortment simmers with wit as Brodak confronts tragedy, formative years losses, transcendent love, and the query of artwork itself. Tinged with a suffering—“I was once the littlest wastebasket. / i used to be my very own church. other than— / scared, scared”—that rises above own sorrow, her fierce and painterly poems redefine nature and artwork and what exists among: “Lately, there's spangled colour in my house / and a chilly apple orchard to have a tendency rather than consciousness.” As Reginald Shepherd stated in regards to the poems in Brodak’s first assortment, the chapbook Instructions for a Painting, her global is “‘small adequate / to sing in all directions,’ and massive adequate to take us there.”
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Additional info for A little middle of the night
One world: Poland, in ho-hum infant Dad, Vietnam black in his ribs, & twilight Detroit for brains, empty in empty. Moneystung, bummer daughters: he held out. Built pressboard desks in jail. Eight years, etc. A serious chime from some casino ( 33 ) lit an old light, and he fought us, fought cops, gave up for cash— a flux what seeks the dark, as a murmur of words, come tumbling. Released, he seemed old, not good-old, not mean-old, we joked. He knew the way back, fake gun, new note, mystery especially: at hand, mystery, in the parking lot at a party store, mystery.
So Lenin planned for bombs. Allowed for elimination dances. The paralyzing horror which is the backcloth of our age is here made visible. ( 48 ) So we stopped making up stories of how our horror was salvation and just lived it. ((( While Russolo made the organ sound like traffic. What instrument is the descendant of a weapon, he said. Is this a joke? Arp’s faithless reliefs bore down on us from the walls like no art in history, upon which we spat as if heaven stank more than our malty flesh and this dance floor, crumbling.
24 ) Mars Black i. Gold Winter. I seem to remember your black eyes, see, it would be fine if I never know you. Two straps on the back of a truck go after me like arms. As splendor is too often soft. ii. Tired of Designing Cereal Boxes. A year goes by and there you are. The man in the next car says don’t take me to the hospital. Goddamn most everything, goddamn us right up the middle— aches of teeth and the hate spot in my chest; I saw it my way and died there. iii. Understand: I listened to your recording.