A review by littlerah
Hearing the Underwater by Savannah Slone
4.0
I was provided with a free advanced reader eCopy of ‘Hearing the Underwater’ in exchange for an honest review. Her collection will be available as of January 4th 2019!
“They leave empowered, and then she sits in her own hypocritical silence. Sitting across from her therapist, she follows up every childhood tragedy with a laugh that might as well be paired with finger guns” (12).
One thing I’m very passionate about is the development and showcasing of young writers and their work. When Savannah mentioned she was looking for people to read her debut poetry chapbook, I was ready to raise my hand. ‘Hearing the Underwater’ does not disappoint in this and adds to my hope for more voices of young diverse writers.
The collections cover is hypnotic and beautiful, an array of water colours blended into a beautiful ocean. Different from many collection covers these days with their simplicity, Slone does not try to be anything but herself. You take your first breath.
Readers are welcomed into a dedication that sets up the entire piece, “for all the selves I’ve been and will be,” Slone reminds readers of her age, and her growth as a person. ‘Hearing the Underwater’ is a development of ideas, beliefs and of language itself as she experiments with style and form. Her writing is politically stirring as she maintains a strong and consistent voice. I can imagine her writing spoken word poetry as well.
“We see the delicate peach pits
in the urns of your overall
pockets. We hear your
shadow. The watercolour
humming of bees
and their kazoos make us swallow
the florescent Morse code rot
of our minds’ inner workings” (18).
One thing that I struggled with was a degree of inconsistency, with capitalisation, with incomplete metaphors. With such powerful and stark language, I needed to be sure of the lines and at times it was a struggle. I however would attribute this to the development of writing. Through her collection you can see Slone experimenting with style, with form – some prose poems (Ode to the Uterus stands powerfully), a jump in stanza enjambment. Slone is gaining her voice and this should be applauded as we stand alongside young writers and watch them progress into future selves.
And all of this comes back to the water. Water that polishes our writing, water of the womb that enables us and children much like Slone’s son to grow and develop. You can’t always see the water in the poems, but you can feel it ebbing and flowing. Understand that Slone is hearing the water, and the way it will craft and work with her life, she is listening, and to her, we should be too.
“I turn the doorknob,
to dig for my roots” (21).
Savannah Slone is a queer American writer. Her poetry has appeared in many collections and she serves as a poetry editor for a number of publications. She is developing her sense of style, and her sense of self. Sharp words and powerful opinions, this is just the beginning for Slone who should be watched as she continues to develop her self and her writing. I look forward to more.
“They leave empowered, and then she sits in her own hypocritical silence. Sitting across from her therapist, she follows up every childhood tragedy with a laugh that might as well be paired with finger guns” (12).
One thing I’m very passionate about is the development and showcasing of young writers and their work. When Savannah mentioned she was looking for people to read her debut poetry chapbook, I was ready to raise my hand. ‘Hearing the Underwater’ does not disappoint in this and adds to my hope for more voices of young diverse writers.
The collections cover is hypnotic and beautiful, an array of water colours blended into a beautiful ocean. Different from many collection covers these days with their simplicity, Slone does not try to be anything but herself. You take your first breath.
Readers are welcomed into a dedication that sets up the entire piece, “for all the selves I’ve been and will be,” Slone reminds readers of her age, and her growth as a person. ‘Hearing the Underwater’ is a development of ideas, beliefs and of language itself as she experiments with style and form. Her writing is politically stirring as she maintains a strong and consistent voice. I can imagine her writing spoken word poetry as well.
“We see the delicate peach pits
in the urns of your overall
pockets. We hear your
shadow. The watercolour
humming of bees
and their kazoos make us swallow
the florescent Morse code rot
of our minds’ inner workings” (18).
One thing that I struggled with was a degree of inconsistency, with capitalisation, with incomplete metaphors. With such powerful and stark language, I needed to be sure of the lines and at times it was a struggle. I however would attribute this to the development of writing. Through her collection you can see Slone experimenting with style, with form – some prose poems (Ode to the Uterus stands powerfully), a jump in stanza enjambment. Slone is gaining her voice and this should be applauded as we stand alongside young writers and watch them progress into future selves.
And all of this comes back to the water. Water that polishes our writing, water of the womb that enables us and children much like Slone’s son to grow and develop. You can’t always see the water in the poems, but you can feel it ebbing and flowing. Understand that Slone is hearing the water, and the way it will craft and work with her life, she is listening, and to her, we should be too.
“I turn the doorknob,
to dig for my roots” (21).
Savannah Slone is a queer American writer. Her poetry has appeared in many collections and she serves as a poetry editor for a number of publications. She is developing her sense of style, and her sense of self. Sharp words and powerful opinions, this is just the beginning for Slone who should be watched as she continues to develop her self and her writing. I look forward to more.