Modern Age - Winter 2018 - 147

Reviews

Yet still pursued his goal in an asylum,
And dreaming dreams transcendent he would paint
White clouds, a crescent moon, eleven stars
Ablaze with light, reflecting whose they are.

In sonnets less successful than "Starry Night," Mooney occasionally strains to find end rhymes or to layer syntax over lines,
repeats a number of similar phrases, and can be a bit too directly
sermonic (unlike Van Gogh the artist, both in theory and in practice). But, at its best, Mooney's ekphras-tic verse does justice to
the life and work of this major artist whom she has thoroughly
studied and into whose work she has entered so deeply in spirit,
heart, and mind.
in colors of the river, Stella Ann Nesanovich tells the story of her

own journeying-both onward in time and backward through
memory-from her childhood and youth in New Orleans through
her later life in Lake Charles, through her reading and in her travels
elsewhere. The past and the present are seen as part of "mind's
slow tidal flow in time" ("Breaking the Surface") as memories are
recovered, reexperienced in vivid detail, and then placed in a significant pattern. This pattern is not only like a river or a stream but
also like great circles and cycles or threads woven into a tapestry.
This great finding, shaping, and interpreting of things from the
past is linked to All Souls' Day, that day in the cycle of the Church's
year when Chris- tians visit and tend to family graves while the
dead are lovingly recalled. In a way, Nesanov- ich's poems, too, are
ekphrastic poems with memories like paintings on which the poet
meditates, and several, in fact, do respond directly to works of art.
Nesanovich's early life in New Orleans was full of the rich and
varied sights, sounds, smells, and tastes of what some have called
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Modern Age - Winter 2018

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