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About this title:
by Adolph Caso

Item price:  $16.95
Book Description:
Fifth Edition: Adolfo's poems cover wide ranges and topics, in the original English and Italian. If poetry reveals truths using the smallest number of words, Adolfo fulfills that first requirement. If poetry is lyricism, with his free verse he demonstrates a cadence of his own--an internal music that beats to his heart and to those of his readers.

Water and Life, by Adolfo Caso, Review

These are poems of remarkable range and power. They could have originated in a poetic sensibility fully at ease with his language, the possibilities of form and content both self-confident and direct. Readers will be treated with segments containing apt and surprising thrusts of metaphysical conceits, as well as disarmingly direct diction.

Poems and photos--I say reading the photos, for many of those gems attach themselves to the poems (not all, I conclude, because some, such as those of the breathlessly beautiful young lady in the poem, Evening of Spring, “/ Here they are; here they are, /The God-made couple. / I brought my hand to her breast / and there beheld paradise.”/--in my view, go beyond words).

Over all, the language serves Adolfo’s purposes handsomely, as in the title poem, Why Dream from images of the measureless—the ocean: “”We shall all taste the ocean, / deep with grief and wide with hope. / No one can cope with the ocean, / the god of rivers / which bend / as do our lives. / We meander to hold back time, / the prime offender of our lives./ Those juxtapositions comprise what I consider to be his religious or spiritual poems—the great encompassing the small--a verbal diagram of interconnectedness. Such poems are scattered throughout the long volume: They go up to, but do not include the poems in Italian. Although I did enjoy those latter poems, I do not have enough command of that incomparable language to trust myself to accurate translation.)

I must admit that my favorites are those poems that focus on ordinary, every-day objects and functions, such as Two Trinkets, Dolore (obviously also a religious piece), and The Journey. Those poems introduce a sort of unexpected whimsical severity of detail which I find captivating. They engage the pith and marrow of objects and actions with which we always assumed familiarity.

Over all, I congratulate Adolfo for his remarkable accomplishment.

Bill Rosenfeld

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