That expression made sense, in all fairness. Not just because my grandfather is not quite the man for poetry recommendations, but also simply because the poem he had read aloud was weak. It was edgy and sharp, but lacking in any powerful message or particularly evocative imagery.
This isn't to say that all of Liliana Ursu's poetry is lacking. Indeed, I've found several poems in Ursu's first full-length English translation that warrant attention and care, poems with power in their angles and sharpness. Poems that breathe new life into frigid air by cutting through it. Take the second half of "A Day in Winter", for example:
A day in winter, a day in summer: same soulsame words, same list of things;only wild ducks fluttering over the frozen green riverkeeps them apart.The sentences taste brittle, but there's this eerie strength to them as well. But most of the poems in this collection tend to fall into the first category, even with all these "angles". I've said this before and I'll say it again: poetry to me is about feelings as much as it is about language. I probably won't remember the specific words used in a certain poem, but I'll remember how I felt reading it. This means I'm a little less tolerant to bland poetry, particularly ever since I've discovered that there's so much good poetry (particularly in translation, particularly by women).
Ursu's poems aren't solidly bad, they aren't even solidly boring. They're definitely interesting, with that distinct style. There are poems that had me scrambling for air, poems that had me shivering, poems that had me smiling. But the balance tilts just a bit too strongly towards the poems that didn't really mean much on an emotionally stimulating level. Simply put, it's an okay stylistic collection: some gems, some duds. That's to be expected.
Interestingly, I find myself more impressed with the translation, perhaps because of my (very, very limited) knowledge of Romanian. The poems in Romanian had a certain beat to them, one that made some sense to me in terms of that language's style. This rhythm, interestingly, was not maintained in translation. Rather, it seems as though Cotter made a conscious choice to translate style into something English-language speakers would better understand, occasionally changing line structures and thus the poem's flow.
All in all, this collection is far from bad, but it's difficult to offer a rousing endorsement of it either. Its edges provide occasional grasping points, but I can't quite say that I connected with all of it. I can certainly see how other readers might appreciate the sharpness (occasionally harshness) of writing Ursu prefers, but only some of the poems really worked for me.