In these poems, Teresa Cader undertakes three poetic explorations, all of them deriving from the book's opening image of a paper wasp spinning its white nest on a terrace in ancient China. The paper universe assembled by the wasp teems with both destructive and creative forces and will lead to the invention of paper and the power of writing. The book's first section explores the mystery of creativity; the second looks beneath the papery surface of the nest at the connection between physical and figurative birth. "Internal Exile," winner of the Poetry Society of America's 1997 George Bogin Memorial Award, forms the third section of the collection, addressing the invasion of the nest by destructive powers in the example of the life of Soviet writer Eugenia Ginzburg.

Reviews

The best of Cader's second collection, (after Guests, Ohio State Univ., 1991) is "a poetics of birth," a journeylike sequence of 14 poems celebrating the conception, prenatal "engendering," and "birthing" of a child. "I think about the body's secrets," Cader admits, speculating on the "sacred" mystery of "amniotic sleep," with child or poem about to be drawn from "the edge of being" into "the way of flesh." Wonder-laden poems, seen as if under a microscope, seek forms of what they describe: "A variegated fern blossoms there/ in the opulent milk of mucus and sperm." The title poem pays tribute to Ts'ai Lun, a Chinese ancient who invented paper by watching "the wasp/ spin its white nest." Twelve final poems commemorate the suffering and victimization of Eugenia Ginzburg, a Russian historian and poet. A little less erudition would allow this human poetry to reach mainstream readers.?Frank Allen, Northampton Community Coll., Tannersville, PA
Copyright 1998 Reed Business Information, Inc.

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