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Margaret Elysia Garcia captivates her readers with her poignant tales of family – of heartache, loss and, most of all, love. She understands the undercurrents in the drama and the quick sidesteps sometimes required to guard against electrocution by faulty wiring. Margaret‟s readers are given choices of characters with whom to identify. In “Headlights” we could be the girls, standing by the window, the tired drunk man returning or the woman who waits. My favorite of her three poems presented here is “The Kitchen Sink”. It has everything in it, including the sink. I think of Margaret‟s work as “moving picture” words. And no popcorn is necessary to enjoy them.


Anxiety is purely a girl thing, yes? If not, why can‟t we just consign the burden of taxonomy on familial secrets and their concomitant troubles to the more matriarchal archetypes if there are women poets who are as honest and crazy as Margaret Garcia? Yet, to describe Garcia‟s poetic language and gestures in such half-assed a cliché as „crazy‟ is to admit that one is simply out of crazier words to say about her brilliance. At the heart of her every smart poem is a woman who is not scared of going out into the void, abandoning herself for a moment there, and coming out hoping still for blessed light to engulf man(kind)‟s darker side. Her images are crisp and clinically fresh as to give one a quick clinical cut right through the kernel of their complacence.


SPIRACLE JOURNAL Volume I Issue No. 1  

Re. In. Vent.

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