I woke up with a bad cold, after a night of fitful sleep, and had to come in to proctor the Ph.D. exam. I was insured of 3 hours of uniterrupted time, so I brought Jordan Davis's "Million Poems Journal" to read. This turned out to be a good idea, since my slightly febrile, sleep deprived state made me extremely receptive to this book.

One thing that struck me was a "neighborhood" quality to the book: different parts of the book seemed to be different poetic neighborhoods that one could visit. They are all in the same city, but there is a good deal of diversity as one reads various groups of poems. The language often has a bright, loud quality. You don't even have to read it out loud to hear it. The writing is fresh and vigorous. I hate to make comparisons, but I thought of Schuyler and Ceravolo at different moments as I read.

There is a sort of "dead-pan" style I liked quite a bit as well--different from the "loud" poems perhaps:

"They were driving their friend's dog
South to be in movie.
Formerly they had great hopes
For him - now for his dog."
["False Friends"]

Facing this poem is another, untitled narrative poem about a poet, she is married to a retired professional golf player. . .

"Lightning in Montana" is deftly done. I like it as a poem you could show to someone else and say "this is an example of good writing." And they would look at you and say "yes." I mean someone not necessarily receptive to "experimental" poetry.

"Toast" is a wonderful poem about -- making toast! "Land Camera" uses the word reliogiosity in a way that made me think about that word. I view religiosity as a viscous, superfluous substance adhering to things where it has no business being. (I associate it phonetically with the word "viscosity".) Poetry doesn't need reliogiosity. Not even religion needs reliogiosity! "The self-regarding religiosity / Of music critics..."

"Rotten Floor" parodies "A True Account of Talking to the Sun at Fire Island" for hilarious effect. "The Parade of the Notebooks" is quite brilliant, both in conception and execution. I also like "Poem Middle of the Night," with its dazzling opening simile.

The book is remarkably consistent in quality, though varied in tone. I have the feeling I might have other favorite poems other times I pick it up. You can add my blurb to the back cover, along with David Shapiro, Susan Wheeler, and Gary Sullivan.