The Stars Will Remember, a review of “End of Earth” by Nolcha Fox, art by Mike Armstrong. Reviewed by Peter Mladinic

The Stars Will Remember, a review of End of Earth by Nolcha Fox, art by Mike Armstrong. Prolific Pulse Press, Raleigh, NC. 2024. $15.95 paper, $4.99 Kindle.

Perhaps in a future ions away, the stars will remember life on earth, the life of planets, animals, and humans, which is precisely what Nolcha Fox is writing about in End of Earth, a document of that life in poetic lines about people, places, and things in her past and present. Her poems, each of them, are complimented by Mike Armstrong’s paintings, that are vivid, abstract, and evoke impressions suited to the particular mood of each poem. In her point of view, sensibilities, and brevity, Fox is our contemporary Emily Dickinson, and very much herself, her own person. Three devices that make her utterances poems in End of Earth are metaphors, personification, and repetition.

      Greed is the subject of “They Circle.” Hucksters, charlatans, thieves who misrepresent themselves, preying upon the vulnerable, are “money vampires.”  Fox sets up a scene of roadkill and vultures. Outrageously, the roadkill, a dead possum? is speaking. With three words “a second look” Fox shifts the scene, from outdoors to indoors, and a person, perhaps by a computer, and perhaps indoors. Part of the poem’s economy lies in this ambiguity. The speaker could be indoors, or in an outdoors market, or even in a mall. Then she smoothly goes back to the roadkill.  Form and content meld. Just as vultures circle in the sky, imagery takes the reader back to the beginning. And then also, there’s the “cook” and “spatula” kitchen diction, adding another dimension, evoking the density of texture needed to make a poem about greed that is powerful in that less says more. Fox indeed knows her way around a metaphor.

     The sun is personified as feminine, as in the adage “when the fat lady sings,” in “The sun throws,” again with great economy. So, in the middle the euphony of “singing snow into icicles” signals a shift in imagery. In eight lines, a roof, a mountain, and a stage all fit wonderfully into this poem, with its structure of personification, a poetic device Fox uses satirically in “Gardening.”  The wonder of “Gardening” is that the statement it makes is not only for today, but for times past. The human characteristic of stupidity is given to plant life. It’s a thing people cultivate, thus the garden itself becomes society, a broader and abstract entity, as in social media. The gardener “tells her friends stupidity” is a good thing, that it will provide nourishment and health, like a squash. The colloquial “buy” followed by the agricultural “stalk” conclude this poem in which the speaker means the opposite of what she says, and the import of what she says is achieved by personification: an attribute of human nature manifests itself in the form of a plant.

     Fox employs repetition with variation well in “Pieces and Parts.” “No one sees…No one takes…When each one walks…,” a poem in which a “thingamabob” coexists with a “coffin” and the self interacts with the other. The tone in “Pieces and Parts” is defiant, the speaker defies nothing less than…death, (which is perhaps why Emily Dickinson wrote poems). In Fox’s “If I Can’t Overcome” the tone is resolved. Its structure of repetition, “let me be…let me be…let me be…let me breathe…let me welcome” lends to its elegance. 

                              …let me be the stillness 

                              that seeps into the clouds 

                              before the rain.

                              Let me be the silence

                              that soothes the branches

                               just before the wind

                               announces snow…

     Just as Mike Armstrong creates lines, angles, circles, squares, and other shapes that move through a visual pattern, Nolcha Fox creates lines that move through a verbal pattern. Reading her poems and coming back to each yields appreciation as well as pleasure. Whether light-hearted or dead serious, she is always exacting. She runs a gamut of human emotions and experience in poems that stand not just for today but for times past and times to come.

About Peter Mladinic:

Peter Mladinic lives in Hobbs, New Mexico. He was born and raised in New Jersey and has lived in the Midwest and in the South. He enlisted in the United States Navy and served for four years. He received an MFA in Creative Writing from the University of Arkansas in 1985, and taught English for thirty years at New Mexico Junior College in Hobbs. He has edited two books: Love, Death, and the Plains; and Ethnic Lea: Southeast New Mexico Stories, which are available from the Lea County Museum Press, as are his three volumes of poetry: Lost in Lea, Dressed for Winter, and his most recent book, co-authored with Charles Behlen, Falling Awake in Lovington. He is a past board member of the Lea County Museum and a former president of the Lea County Humane Society. An animal activist, he supports numerous animal rescue groups. Two of his main concerns are to bring an end to the euthanizing of animals in shelters and to help get animals in shelters adopted into caring homes. In his spare time, he enjoys yoga, listening to music, reading, and spending time with his six dogs. Recently, his poems have been published in numerous online journals in the US, Canada, England, Ireland, and Australia

Website