Poet Aline Soules Calls Carol Smallwood's Chapbook a "Universal Collection"

Visits and Passages by Carol Smallwood

Paperback:134 pages; 

Finishing Line Press (January 4, 2019) 

ISBN-10: 1635348005; $18.99

Available on Amazon

Reviewed by Aline Soules originally for B. Lynn Goodwin's WritersAdvice.com

         In Visits and Passages, Carol Smallwood not only writes in multiple formats (short stories, diaries, fantasy, poetry, and others), she offers her explorations of everything from the color pink to a letter to God. All come from the heart of American life. As Roland Barksdale-Hall notes: “Smallwood paints with delicate strokes a splendid cornucopia of lyrical ruminations on family, nature, literature and places.”  

         In her first piece, “A Visit from Caesar’s Wife”, Smallwood writes: “Avon made me feel a part of things: it was as American as McDonald’s, the Fourth of July, or the Reader’s Digest.” This sets the tone of the entire eclectic collection and the evolution of her world.

         In her memoir about a relative, she recalls Christmas in Poland where the table was set with hay under the tablecloth, the common shepherd who was fed in turn by each villager, the swing used by the whole village, and a beautiful brook where the author waded.  It’s a far cry from a family that grew flax, spun linen thread, and made cloth on a loom to the modern American woman who later writes a piece called Wendy’s where she read the Canterbury Tales over chili, a baked potato, and a senior Diet Pepsi, and observed tabloid headlines like “3500-Year-Old Mummy Gives Birth.” A woman who observes the humanity around her, wondering if a young teenage couple in line will turn into another couple with kids at a back table.

         Interspersed among the prose are poems of memoir and reflection. The poem, “A Lace Piece,” ponders the fragile beauty of lace, its history, its universality, its grace. In “Grandmother Said,” she mixes a memoir of her grandmother with the universality of sewing with needle and thread, possessions her grandmother obviously valued greatly as social objects that addressed loneliness. As Su Epstein notes: “A picture may paint a thousand words, but Carol Smallwood’s words paint a million images.” Mary Langer Thompson calls Smallwood “a keen observer collecting fragments that make up a life.”

        The author raises questions: “What is our definition of home?” she asks in “Home.” In “A Letter to God, Revised,” she asks, “Why such an odd world of 71% water, a round planet rotating around a boiling star with a moon also held by gravity?” She can question all she wants, but she still has to form an opinion. In her “Dear Diary” section, she lists essay topics for class, which are often questions in another form, for example, “The Importance (or Lack Thereof) of Knowing Why the Sky is Blue.”

  

        The author ends the collection with an epilogue, a poem called “Passage,” which she starts with “summer ice, pleasure of the moment: / proof of time’s passage” and ends with “evaporation could be measured / if there were days enough—/but ice has many forms.”  The momentary nature of time and the multiplicity of forms, whether of ice or passages, makes this a universal collection.

MORE ABOUT THE REVIEWER

Aline Soules, is the author of:

 "Evening Sun: a Widow's Journey" (chapbook), https://amzn.to/2OTFXVE and

"Meditation on Woman," https://amzn.to/2CHEhst. 

Lean more about her on her blog a http://alinesoules.com/blog or at Twitter (@aline_elisabeth). Her work has appeared in such publications as Literature of the Expanding Frontier, Kenyon Review, Houston Literary Review, and Poetry Midwest.

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