Praise for Skeletons
New Yorker Best Books 2023
"Landau’s earthy, angsty poems—about sex and mortality and cosmic despair—are insistently quotable, and more fun than they have any right to be."—New York Times
"By turns melancholy and exuberant, but always fuelled by formal and sonic play, this collection—structured around a sequence of 'Skeleton' acrostics, punctuated by a series of 'Flesh' interludes—measures the fact of mortality against the pleasures and possibilities of being alive."—New Yorker, Best Books 2023
"An unnerving, strangely erotic reminder of what the pandemic felt like . . . a perfect reflection of those months of enforced intimacy amid the threat of death."—Washington Post
"Probes mortality and virtual existence amid the pandemic and political unrest while also celebrating love and connection."—Publishers Weekly, Spring 2023 Announcements
“In her shining fifth collection (after Soft Targets), Landau chooses the somewhat unexpected acrostic form as a container for her punchy riffs on modern life. Spelling ‘skeleton’ down the left margin, these poems wield a lightness of tone with subject matter that has preoccupied her across several books. . . . These poems unfurl a resonant commentary on loneliness and mortality.”—Publishers Weekly, starred review
“Landau’s way with a line is exquisite. Spacing, lineation, and ellipsis regulate the rush or slow drip of the words, pacing our reading with the poet's thinking. Often, the form deprives readers of expected grammatical handholds, so we slide into the eye of the poem and her lush language. Most striking is the mouthfeel of the poems, whether arid or salivating, as in a poem about cherries: 'louche juice, farm to mouth, the sweetest cerise mess.' Skeletons is clever, pragmatic, and, finally, ecstatic about 'this bag of bones' we’re bound to.”—Barbara Engel, Booklist
"Landau explores the landscapes of loneliness and mortality within the isolation wrought by the COVID pandemic. Using her trademark sharp, refreshing wit, she positions 32 poems, all titled 'Skeleton' and all acrostics, among poems titled 'Flesh' and ends with the defiant, affirming series 'Ecstasies.' . . . In a book coursing with energy, Landau remains in control. . . . A good addition to most collections."—Karla Huston, Library Journal
"Deborah Landau’s Skeletons wittily shows how, in our death-haunted loneliness (especially during COVID lockdown), we still reach for flowers, light, and love.”—Library Journal (“What To Read in 2023 | LJ’s Annual Books Preview”
"There’s little nostalgia—or pity for it—in this collection, and the homes of childhood aren’t directly visible. And it’s this wrestling with the gloom and the beauty—'the fog smokes the bridges like this,' gorgeous writing—this back and forth, that weaves and constitutes the quarrel in these poems. . . . These lines find, almost miraculously, the respite of a moment, the form of the poem itself like a little shelf for a little while blocking out the storm: 'Look, these bones are made for us / and the room is mild, and the catastrophe / though nearer is still not."—Jesse Nathan, McSweeney's
"Landau’s self-deprecating wit is so elegant we can’t help but give in to her charms. . . . Skeletons sings most sublimely in its exaltation of desire. The whole collection is a fierce ode to mortality, mourning time’s passage as it revels in the pleasures of the flesh, urging us to say yes despite everything."—Diana Whitney, Electric Lit
“Throughout this collection, Landau’s stereoscopic vision splits: one eye stares into the void; the other stays trained on the luxuries that embodiment allows and mortality quickens. This double sense of life-in-death manifests in nearly every poem. . . . These poems are conversational memento mori, sprinkled with chatty, O’Haraesque bursts right out the gate: ‘Sorry not sorry, said death.’ The voice is delightfully propulsive—and compulsive—as it works against the potential monolith of the acrostic form. The surprising line breaks and enjambment teeter asymmetrically to exhilarating effect.”—Lara Glenum, Poetry Foundation
"It's not hyperbole to say Landau's 2019 collection Soft Targets loaned me long sought-after language for embodiment, vulnerability, even softness. Those poems handled our many human liabilities, awakening me to 'soft spots in even the hardest-looking agent of destruction, to the smallest, most nourishing pleasures,' as I wrote for Image Journal at the time. That there are new Landau poems coming into the world, and that they bear this title and this cover, show me how much more is worth waking up to."—Aarik Danielsen, Columbia Daily Tribune
“Landau writes with lyrical precision and take-no-prisoners wit that brings its own pleasure to the reader.”—Charles Rammelkamp, The Lake
"Diving deep into what defines us, Landau seemingly finds what sustains us when the outside world ceases to make sense."—Redlands Daily Facts
"Formal poetry is all about precision and control. You have to be precise with language and controlling of your lines in order to stick with the form you’ve chosen. Each poem in Skeletons uses the acrostic form so that the first letter of each line spells out a word or words. Each poem titled 'Skeleton' keeps a precise shape, as does each poem titled, 'Flesh,' though that shape is different. Concrete poetry at its finest." —Book Riot
“In Landau form is a way of saying, Voilà! It also dares and disappears: ‘Catch me alive? I am today—swept through the air in a flesh, / thinky-feeling, lugging itself up the subway stairs / & now back on Spring Street again in the dazing light.’ . . . She has found a language for civilization’s current discontents, if not ecstasies, the wearing off of the anesthetic.”—Mark Jarman, Hudson Review
Praise for Deborah Landau
“Landau captures the ways humans persist, despite our collective anxiety, in our longing for ‘something tender, something that might bloom.’” —Publishers Weekly, starred review
“In this heartbroken yet rough-as-a-just-cut-gem sequence, which takes despair and twirls it in all senses to try and make it spill its cheap undying trick, pain flirts, hysteria is an eros, taffeta begs to be worn as if an outer lining of the soul.” —Jorie Graham
“Deborah Landau has developed a style of writing poetry that reminds me of Maggie Nelson and Anne Carson, these long poems that feel dreamy because they are so lyrical.” —Boston Globe
“These tightly constructed poems read like euphonic pleasure amidst global destruction.” —New York Public Library
“Landau’s killer wit evokes Dorothy Parker crossed with Sylvia Plath—leaping spark after spark, growing to deadly dark fire.” —Los Angeles Times
“Landau reminds us of the nuanced beauty of language as, through their directness, her tight, graceful poems make readers feel as if they spoke only to them.” —Booklist
“Hooray for a writer who can weave presence and absence, longing and loss of longing, into a tapestry of language as rich, honest, and compelling as this.” —Naomi Shihab Nye, 2003 Anhinga Prize Judge
