Paper Boats – a lesson in transience

image represents folded paper boats in a yellow field with black sky

Steve Luttrell, Paper Boats (1st Edition) (Buy this book)

Review by debora Ewing

We read poetry in search of answers, or maybe even questions. We seek meaning in poetry, but we love how poetry lets meaning be slippery. We like it when poetry eludes, coquettishly, then suddenly turns and looks us dead in the eye. Steve Luttrell’s poetry does that.

Paper Boats is a collection of sad observations

We have lost
ourselves to history.

and quiet marvels

No song-bird this
but a sky-glider
a fish-finder
a slow-stride wader.

balanced like a cycle of seasons. Like a box of saved things left behind. Like country directions to your distant cousin’s house. The face of a river you’ve seen time and time again, but still it shows you a different face. Moments that are fleeting, moving, always changing, but hold still just long enough look back at you.

Within this collection, you can gain the perspective of a man who grew up in a certain America, who spent decades in publishing, who was once a boy and realizes he’ll most likely be a boy again. You can taste Maine like the locals do, knowing you’ll never be a local but relishing the gift. You’ll look through this lens at your own origin story, tasting things you’d forgotten. You may recognize your own paper boats as they drift through your periphery and slowly sink into the eddies of time.

Steve Luttrell is the founding editor of The Café Review, an award-winning art and poetry journal, published in Portland, Maine since 1989. He is a past Poet Laureate for the city of Portland, Maine and is the author of five published collections of poetry:

The Green Man 1990, Moonstar Press
Conditions 1993, Midnight Press
This’ n That 1995, Muse Press
Home Movies 1998, Big Bridge Press
Plumb Line 2015, North Atlantic Books

This long-awaited sixth book pairs well with a dusky Sangiovese on the back patio overlooking the lake while autumn leaves drift toward the water, or a midnight bath with salt & essential oils. It may be even better read by the sodium lamps of a nearly-empty parking lot, French fry remnants in a crumpled box on the dashboard.

Get your copy of Paper Boats by Steve Luttrell here, today.

Anatomy of a Poetic Volume

overcast sky and trees

by debora Ewing, Igneus Press editor

We love pages. The smell, the feel. The font is a tongue rolling out of a poet’s life, laying out everything they’ve tasted.

When I’m presented with a manuscript to be laid out for print, I become a forensic investigator. This is the scene of a crime; the words are a confession of…what? There’s music here, but I have to dig to hear it. I’m looking for the poet’s soul. As is the case for my musical collaborators, prosody is my responsibility. As is the case with designing an art exhibit, applying the wrong frame treatment, placing pieces in the wrong order, can ruin the narrative.

The manuscript is sent to me as a wildling, unpruned. I have to find ways to fit its true nature within the size of a poetry book. I read each word carefully, several times. The baby in front of me represents a man’s several lifetimes. He doesn’t say that in so many words, of course – this is poetry from a master. It’s like looking at a photo album made of words. I want to feel what he felt as he made decisions as to what, whom, would be included. He shared key events in his life, some painful, some beautiful, all of which made him somehow stronger.

When I’m working on a piece of art, I choose a “soundtrack” – sometimes it’s a song, or an album, or a movie. It’s an incredibly useful device for the times when life intervenes. I can regain my groove fairly easily if I know which song I was using. For this book, this man’s life which was lived in part before I was born, I decided not to find the music that was important to him, but what was important to me – what I listened to when I was a wildling, learning to be strong, falling often, finding strength.