States of Independence
Written by Michael Klein
Bloom Books, 2012
States of Independence is a thin, square-shaped, pocket-sized little book sporting wide clean white borders around its central image: a man walking his small dog on a sun-lit beach. The image reminds one of a miniature movie poster. Snow, sunlight, and rain all resonate with States, figuring in Klein’s personal semantics of loss, isolation, and love. The snowy borders around the cover of States do more than just provide padding; they accentuate the image’s isolating effects, while fortifying the sense of companionship and sobriety characteristic of much of States.
Klein’s prose often feels cinematic, as in the first essay of this sequence, “Movie Rain and Movie Snow”:
It was snowing in New York—and everywhere else, apparently—but especially in New York because that’s where I live and Fifth and Madison and Lexington Avenues all run down in the same direction of snow falling on awnings and doormen and cars and buses pulling people into jobs and schools all white morning.
One particularly impressive essay is “Airports and Funerals in Sobriety,” in which Klein likens sunlight falling in an airport corridor to new sobriety; later, he manages to link this sobriety to vulnerability when depicting a funeral scene:
I was holding a white chrysanthemum in the cold and Andrew was holding a yellow rose and when there were no flowers left among the living we walked away and my brother-in-law stood there alone in the cold sunlight and Andrew and I walked to the car and joined a line of more cars driving to the reception which was lovely with strangers on their way—as it always ceremonies—to the memory that gets fastened to everybody’s living.
States of Independence touches upon many subjects characteristic of Klein’s poetry and prose. Some essays are short and feel more like prose poems than vignettes; the chapbook itself is hard to define as strictly memoir or creative nonfiction, given its diversity. But that’s the virtue of presenting these pieces as a chapbook, which has fewer restrictions and fewer, divisive expectations than a full collection. Hopefully, States will appear in a larger collection someday so as to gain a wider audience. As it is, States is a great introduction to Klein’s body of work, exemplifying his dexterity and diversity as a poet as well as the honest emotion (whether bitter, sweet, or humorous) inherent in his prose.
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