![]() Limón’s poetry regularly rebukes the ironic mode commonly employed by a number of her contemporaries, and opts for unabashed and strong emotional language. I’d press her limbs down with a long pole Just years ago, freely single, happily unaccounted for, ![]() Spurt, or gurgle, I’d imagine a body, a woman, a me ![]() The poem is in turns self-mocking (“I put my apron on as a joke and waltzed around carrying / a zucchini like a child”), and earnestly introspective-here, reflecting on a story wherein a woman’s body was found at the bottom of a cistern:Īfter that, when the water would act weird, With her significant other in Kansas, she attempts to reconcile her own ambition with the accoutrements of domesticity she finds herself surrounded by. In “The Last Move,” another early piece in the collection, the speaker seems to be conflicted about the role she’s found herself in. The poems are interested in the balance between internal and external loci of control, how someone may want to be known and identified on their terms, not lumped into categories and stereotypes. Moments like this underscore what appears to be a key source of tension in the collection’s work. In fact, images of horses and hearts, often together, appear multiple times in the collection, perhaps most notably in the opening poem, “How to Triumph Like a Girl:” Limón’s wears her heart on her sleeve, and in this collection that heart takes the form of a huge, pounding horse’s heart. ![]() Bright Dead Things by Ada Limón is musical, emotional, and honest, its verse muscular and unflinching. ![]()
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