This poetry collection moves from the narrator’s childhood in the marshes of Canada to her coming of age in a new, southern swamp in South Florida. Many of the poems use free verse as well as fairly recent poetic forms like the Golden Shovel and the Pecha Kucha. Others rely on wordplay and nonce forms. Influenced by Hector Veil Temperly, Matthew Zapruder, Dorothea Lasky, Laura Kasischke and Anne Carson, the poems often employ simple language in stream of consciousness, and oscillate between lyric and narrative. These poems are feverish creations inspired by the oracular tradition and induced by the psychic crush of modern life: depression of the body and mind, cultural paranoia, and the decline of nature. The reader is privy not only to the personal biography of the narrator, but also to the inner workings of the narrator’s mind as it encounters and interprets the world.

OOLITHS is a poetry collection that challenges commonly held American values such as the sanctity of the family, the American Dream, the nobility of parenthood, and faith in God. Divided into eight sections, the collection follows the arc of childhood, adolescence, maturity and decline. Images of birds, crickets, the beach, the moon, and rainstorms anchor the poems to Miami’s natural habitat and to each other, while images involving music, sleep, raisins, coffee beans and eggs unite them in the realm of the domestic. OOLITHS includes traditional forms such as sonnets, as well as nonce forms, prose poems, free verse and newer forms. “Art History for Breast Cancer Survivors”—a twenty-stanza pecha kucha inspired by Terrence Hayes that deals with the narrator’s battle with breast cancer—marks the middle of the collection. Having scratched the varnish off our illusions, OOLITHS concludes by acknowledging the inevitability of loss with a bittersweet smile.