Praise, Comments, and Reviews:
Forged Correspondences "Wildly inventive, these ‘forgeries’ roam from Heraclitus to the Queen of Sheba, from Newark to Africa. Highly serious and richly comic, a great trip." — Maxine Kumin, Ploughshares "The wholly original and deeply felt poems of Philip Brady’s Forged Correspondences carry the reader to such faraway locales as Ireland, Zaire, Cleveland Stadium, Flushing and Brooklyn, back into a history that is terribly personal and political and cosmic; and so deep inside, the heart begins to understand what the drumming is all about. After spending time with Sir Roger Casement and Parnell, Herb Score and Sandy Koufax, Heraclitus and the Queen of Sheba, the reader is escorted home again, breathless from Brady’s singular, expansive talents for narrative and song. This book is a journey through glittering empires of the imagination." — David Citino "Philip Brady always writes with speed, inventive energy, verve. At once comic and deeply serious, in a voice able to mix intelligence with sensuous awareness, his imagination projects itself with conviction and the smack of authenticity into other lives, or richly recovers his own past and that of his family. Bright and grainy as they are with local detail, the poems (and some vivid snatches of prose) also add up to an extended meditation on how one lively consciousness processes the bewildering variety of the physical and, ultimately, the moral world." — Eamon Grennan "Philip Brady takes us on a bitter pilgrimage to his
past — Elton Glazer "Philip Brady’s Forged Correspondences has been written in blood by a poet who is a brother to the dispossessed. In poem after poem, in relentless rhythms and with uncompromising honesty, whether he locates himself in the present or past, in Queens or Connemara or Africa—the Africa of Sir Roger Casement in his correspondences or the Africa of the stunning basketball and guilt poem “Mazembé”—Brady broods and breaks through into revelation both for himself and for us. In many ways, this powerful book is a tour of personal and historical plague country; no reader will escape from it unscathed, unchanged, or, by way of that complex effect and gift of the most serious and accomplished art, ungrateful.” — William Heyen |
Poems |
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The day the four McCann girls were shown Brooklyn
They could translate pence to nickels, On Sundays, Paddies in sloped work caps Mary was eldest so she tried first, but she barely had time Then Betty the Prim one entered Her flame fingernails; together they raptured Bars and K. of C. Halls then boogied home to make a me Christ would mistake for his transfigured twin; but I’d been craved so many times it was born smudged—their whelp—padding the threadbare rug in orthopedic shoes, getting religion, soiling his musical necktie in the kitty litter. And that left Anne the youngest who dreamt at first |
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To lurch, crooning, in moonlight from the pub, What if no sea or fire consumes, no brain— What if I missed it?—and the fields and pond and in my skull, where I drown, or writhe in flames, |
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