Joey Madia, New Mystics Reviews

Winner of the The Filamore Tabios, Sr. Memorial Poetry prize, for which Filipino poets from around the world are eligible, Jean Vengua’s Prau is a fascinating journey in the often stormy seas of nontraditional poetry. It takes as its overarching theme images of boats and boating, bracketing its interior selection of poems with a beginning quote by Herman Melville and an ending quote from The Dhammapada. The quotes served, for me, a navigational purpose, functioning as the start and end points on a map or as the buoys that mark a channel or inlet, calling to mind the mnemonic device of “Red, Right, Return” that I learned as a teenager living near the ocean and learning to sail. Such anchors, if you will, are an essential part of any nontraditional writing, as they clue the reader to the fact that the author is not working randomly, or haphazardly, just putting words, phrases, and constructs on the page, but that the collection holds in important, vital ways. In reading Prau, I often tho

Eileen Tabios is proof that one need not be locked into either a right- or left-brained set of experiences over the course of one’s life. With an MBA from NYU and an undergraduate degree in political science, she had a successful career in finance before shifting her attention to poetry. Her list of publications and awards is impressive (including the Philippines’ Manila Critics Circle National Book Award for Poetry). She is an editor as well as a writer, and since 2001 has been integrating mixed-media and performance aspects into her work. She is also the founder of Meritage Press. Reproductions of the Empty Flagpole is a subtle cinematography of words. It is a meditative and gentle read, drawing on the deeply experiential and ultra-personal, framed by a referential triumvirate—poetry, painting, and place. This book of what might be termed “prose poems” is composed of three sections: My Greece, Returning the Borrowed Tongue, and Triptych for Anne Truitt. The collection opens with four