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Previously available only in limited-circulation books, Jenkins's work fills a great need in modern American prose poems, striking a balance between surrealism and precision thus far found mainly in translations. Many pieces are portraits and run the risk of becoming stories; instead they involve readers momentarily in a character's life, then turn an invisible corner, breaking the story line while holding the attention. Time vanishes; a history unfolds in the space of a paragraph. Crucial events are merely hinted at. A poem on aging, for example, ends with a moment "blinding as the flash when someone snaps a picture of you blowing out the candles." We begin in middle-age and end in middle age; we've gotten nowhere; it's all extremely well-crafted verbiage. We sit back and enjoy. An added bonus: Jenkins's brief introduction is one of the most lucid descriptions of the prose poem available.?Rochelle Ratner, formerly Poetry Editor, "Soho Weekly News," New York
Copyright 1995 Reed Business Information, Inc.
Introducing these prose poems, Jenkins writes that readers should "think of [them] as a door, another useful rectangle." Indeed, his tightly written paragraphs seem to be entryways, although occasionally they resemble selections from the openings of novels more than completed poetic pieces and leave us yearning for the rest of the story. The characters in them are immensely likable and realistic, from the "fat teaching assistant" who caught a student cheating on an exam and now spins her story into grand exaggeration to a night-shift waitress quietly filling a water glass and looking out a window to Lake Superior. Jenkins captures small scenes and solitary people, making the typical become fascinating. Many of the poems seem almost like small flowers ready to bloom just as the action ends. Elizabeth Gunderson
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