RICOCHET SCRIPT by Alexandra van de Kamp
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Alexandra van de Kamp’s Ricochet Script examines life as a plot slipping from our hands, veering in unexpected directions as years coalesce behind us. These poems bargain with time as a foreign, surreal, and elusive entity, where whole days can feel as if they were “written/in someone else’s script.” In vivid, at times playful musings, van de Kamp grapples with midlife, loss, and the strangeness of the body, while never forgetting the unrelenting beauty of being alive. These poems invoke a wide range of storylines, from Hitchcock’s Lifeboat and spy thrillers to aging parents, to confront the unpredictable and ricocheting world.
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--Sheila Black, co-editor of Beauty is a Verb, author of Iron Ardent
This poet is a lithe acrobat, her ricocheting thoughts tightly woven by stunning images. The poems think, yet movement is concrete, specific, tuned with details: “. . . watch the bright / balled-up leaves in the boiled water unfurl and float, / like mini Esther Williams doing the backstroke.” Or “. . . let's not forget the invisible; / the mosquito the size of a torn // eyelash . . .” The poems in Ricochet Script decry and bless the human condition. Alexandra van de Kamp’s use of irony, pathos to describe inner and outer worlds, and her close investigation of mortality brings us a book to savor, to read slowly, expectations raised to the excitement and beauty of what is next.
--Veronica Golos, author of GIRL
In the atmospheric Ricochet Script, poems are rendered not only in the high contrast of film noir, but in the flesh tones of unmediated raw material—the body and the life gathered around it. “Elegy to My Uterus with a Glass of Pinot Noir” effortlessly blends the body and the cinematic: “When they told me you had to go, / I envisioned myself on a train in a 1950s European war film, staring out / at a country I’d never see again.” Alexandra van de Kamp takes delight in the tools of her trade. Language shimmers with meaning and eroticism, words themselves become “rounded and ridged morsels.” While the mood sometimes darkens, the voice of these entrancing poems is sophisticated, ardent, witty, and passionate.
--Stephanie Dickinson, author of Blue Swan Black Swan: The Trakl Diaries
Alexandra van de Kamp is the Executive Director for Gemini Ink, San Antonio’s Writing Arts Center. Her two earlier collections of poems are Kiss/Hierarchy (2016) and The Park of Upside-Down Chairs (2010). She has published five chapbooks, including Dear Jean Seberg, which won the 2010 Burnside Review Chapbook Contest. Her poems have been published nationwide in journals such as The Cincinnati Review, Connecticut Review, The Texas Observer, Denver Quarterly, Cider Press Review, Sweet: A Literary Confection, and Tahoma Literary Review.