So I was at the library the other day and ended up borrowing this book,
Carolina Ghost Woods, simply because the writer was unknown to me, a rare thing, library poetry sections being what they are.

It's not a
terrible collection, but I wish I hadn't returned
All of Us (itself not so very wonderful) to borrow this. If I'd examined it closer, I'd have noticed that it was published as the winning manuscript for a (reputable) competition—not a certain don't-touch marking, but a disindicator for sure. Its contents encompass the following:
1) Bland, basically innocuous poems. For example: 'October', 'Winter' and the title poem.
2) Bland poems with atrocious lines sticking out of them. Frex: 'Scattered Prayers'—'Deep in the horned cave of the lacertilian winter' ('reptilian' or 'lizard-like' not good enough for her?), 'Sandbar at Moore's Creek'—'the delft-blue mussel shells, / fingertip tiny, most beautiful when strewn wide with loss' (how something can be 'strewn. . . with loss', I have no idea).
3) Simply atrocious poems. Frex: the first poem, 'Sharecropper's Grave', which begins 'The night is hoot-owls, wind-whistled flue, babies bundled in burlap'—no doubt while Peter Piper was picking his peck of pickled peppers—and ends, 'My children who won't hear. / The night full of cries they will never make.' In between there's stuff about the wind rising, clouds covering the moon, a dog barking. . . . Also notable is the last poem in the book, 'Dream of the End', not only because of plodding lines like 'When caught in silk and a bucket of rosewater, / it [the moon, that old standby of hack poets] told maidens how many days before marriage' and seppuku-inducing lines like 'I could cut out my own heart, / . . . and he would tear it apart, / scatter it to the four directions of the leached earth', but because it's sequestered away in its own section, also titled 'Dream of the End' and setting a high watermark for pretentious organisation in poetry collections.
It is the sort of book that fully deserves its blurbs—not what they say, but the way they say it. Here is James Tate:
"Carolina Ghost Woods is a startling first collection of poems—startling because of the bone-crushing violence and poverty, and startling also because of the beautiful and precise language the poet brings to bear on these scenes, violent or not. . . . The genius of these poems is that they insist on seeking the human despite devastating circumstances. Even the most wrung out individual must still have a soul. . . . I know of no book of poems like this. Judy Jordan has made herself a home in the house of poetry, and we are the richer for it.
Classic
puffery. The book is 'startling', its 'genius' isn't that it's good, but that it is spiritually upstanding, and yep, there's that obligatory bad summing-up metaphor. The poet's made a home in the house of poetry (an unfortunate phrasing if I've ever seen one), and somehow this has made us (poets and readers of poetry, I assume) 'richer'—how does this work as a metaphor? Are we charging her rent? I quite like James Tate—his
'Goodtime Jesus' (it looks like it's lineated on the page I link to, but it's really a prose poem) is one of my favourite bits of light poetry—but I must say he's a wanker.
Then there's Agha Shahid Ali:
"'In the night of the soul's dance across luminous skulls, / it's the land the inherits' us. Such is the heartrending wisdom this poet has arrived at—with a grandeur very much in the American grain—whereby a Whitman-like abundance is able to meet a James-Wright-like compassion in a voice that never surrenders to bitterness. For despite much to be bitter about, 'Grief enough cleaves this wrecked lank with beauty.' How effortlessly the lyric is woven into these narratives so that even though 'the dead refuse to rot' and 'climb to the moons' in this poet's fingers and user her 'nail clippings as wings,' she neverthless can, when encessary, become air / and tremble above herself' herself.
'Such is the heartrending wisdom this poet has arrived at' indeed! Aga Shahid Ali should win some sort of prize for most damage done to a book by quoting from it; I doubt I could've picked worse lines if I'd tried. Here, again, we see that strange tendency to praise the work's, for lack of a better word, moral virtuousness over any real achievements. We are supposed to read and like this book because the writer is wise (possibly the most used and least defined word in poetic blurbses), generous ('abundance'), compassionate, and not bitter—god forbid a poet should be bitter; he or she might turn into, well, Philip Larkin! So, is the book any good? The real question is, who'd be so gauche as to ask that question of the work of such a saint? It is as if people blurb and eulogise with the same parts of their brains.
To sum up,
Carolina Ghost Woods is a mediocre collection made up for somewhat by the hilarity of its back cover.
The Expressivist's verdict: BOO. Me no like.