Baby, I Don’t Care by Chelsey Minnis (Wave Books)

Tears in the Fence

If a more original transposition of a genre from its traditional medium to that of another, wholly alien to it, has ever been attempted – and so successfully and bracingly – I can’t recall of it. Imagine a femme fatale from a classic Noir movie cast as the speaker that unites a suite of poems which adhere to quintain form. Each poem visits a theme, such as seduction, murder, romance, laziness, fun & games, bargaining, larceny, love, and, ultimately, failure. Now envision not one speaker, but a host of female speakers, archetypes from 30s and 40s Hollywood, alternately flouncing into the ring of limelight in their nightgowns while nursing a highball or flute of champagne, inspiring deep draughts from a cigarette, and tossing an endless string of gimlet one-liners. The voice is refracted in a thousand ways, producing a stream of apparent nonsequiturs. Finally, consider the fact that many of…

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