Patricia Lockwood's first poetry collection in 12 years, 'Agate Head / Stone Soup,' captures her unique voice in a time of personal and artistic evolution. In the introduction, Lockwood reflects on her previous struggles with writing, stating, “For almost a decade … I had not been able to hear it. The poems that I wrote would not end … too much was happening.” She emphasizes the transformative nature of this gap, moving from writing privately to a significant return to the poetic form.
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Having gained fame from her viral essay 'Rape Joke' and her acclaimed memoir 'Priestdaddy,' Lockwood has established herself as a literary powerhouse. Her latest collection is divided into two sections, presented in a tête-bêche format where each volume is upside down and back-to-back. 'Agate Head' often engages with public themes, while 'Stone Soup' delves into more existential dilemmas.
Lockwood draws inspiration from her early fascination with stones, gems, and metals, which serves as a rich metaphorical background for her work. In 'Babies Born Remembering,' she questions the essence of memory through vivid imagery. The collection includes moments that resonate with readers familiar with her life, such as references to her father: “That my father has been drinking … / Always something new with him.”
The poems exhibit a notable shift in style compared to her previous work, which often featured long, flowing lines. Instead, this collection adopts a more staccato rhythm, as seen in 'Not Seeing Glass Flowers': “To grow. Was it that / They looked real? I asked everyone.” This shift results in an engaging initial impression, leading thoughts to unexpected conclusions.
Despite some shortcomings, such as autobiographical elements that can lean towards gossip or metaphors that falter, Lockwood consistently presents profound reflections through humor and insight. In 'Monastery Icons: Windows into Heaven,' she highlights the absurdity of faith in challenging times, showcasing her ability to blend the sacred and the comedic seamlessly.