Kirkus Starred Review of Foley's Newest Book: Why I Never Finished My Dissertation


by Laura Foley


A collection of poetry offers a detailed journey through the author’s past.

“Because I heard the wind / blowing through the sun, / I left the lecture / on mathematics.” These opening lines from the poem “Fractalization” epitomize Foley’s (WTF, 2017, etc.) approach to writing. She has no time for tedium; she refuses to feel trapped; and she is at home and inspired by natural, wide open spaces where individuals “see beyond / the limits” of a mind “numbed by numbers.” Thematically diverse, her poetry is, in every sense, transporting. In “Little Rooms,” she describes herself as a fourth grader, carefully assembling a box to store her collection of gemstones. In “After,” she is a grandmother at a protest march wielding the placard “Queer Grannies Against Trump.” Other poems depict her family—“Rumpelstiltskin” captures her father’s rage when she tells him she is to marry “the hunchback Moroccan,” and the title piece recounts the poet’s first steps into parenthood with a toddler who “sits, / squealing in the mess.” Foley also leads readers through the corridors of a mental health facility, where she recalls visiting her sister: “Quiet as death, / our footsteps echoing against the scarred wood.” The masterful poetry in these pages is replete with elegant lines that beg to be underlined in pencil and returned to repeatedly. For instance, the love poem “Beyond” opens with the beautiful and timely statement: “I don’t think of her as woman, or man, / just as I don’t gender sunlight / on my face the first coatless spring day.” Foley’s writing may appear sparse and reserved but it harbors a subtle power. The poet’s greatest strength is her acute sense of observation. She possesses the ability to thread sensuousness into the fabric of everyday life, as in “What the Dead Miss,” which portrays a visit to a filling station: “I hear music in the liquid trickling, / filling my tank to the brim, / music in my steady footsteps.” After transforming seemingly commonplace sounds into auditory pleasures, she floors readers with the line “They say that’s what the dead miss most, / an ordinary day, spent like this.” This is a dazzling volume of poetry that delights in crisp imagery and tender recollections.

Understated, courageous, and deeply insightful poems.

Older Publications, Features and Awards


Featured poems on Writing in a Woman's Voice

A big thank you to Marge PiercyWOMR and the The Joe Gouveia OuterMost Poetry Contest for selecting my poem "Letter to Sally" for an Honorable Mention in the National category. Looking forward to the poetry reading at Wellfleet Preservation Hall in March.

Featured on Verse Daily

Three poems in The Literary Nest

Featured on Mindfulness + Writing Blogsite

Poem published in Redheaded Stepchild

Poem set to music by Dale Trumbore

Poem in The Shanghai Literary Review

Featured USA Poet in FreeXPression, Australia

Four Poems published in Medical Messenger

Poem featured on Swimm

Poem published in Figroot Press

Poem published in The Woven Tale Press

Featured Poet in The Bennington Banner,522788

Two poems on Wordpeace

Poem published in Panoply

Review of WTF at Mom Egg Reviews

Reviewed by Sarah W. Bartlett

Poet Laura Foley is not new to publication having won a couple of poetry contests and been read by Garrison Keillor on The Writer’s Almanac. She is the author of six collections of poetry, all of which have received rave reviews. Into the bargain, she has a unique photographer’s eye trained to unusual perspective and subject matter. You really need to visit her website to see what I mean.

Her perceptive eye and heart, perhaps enhanced by her Buddhist training and work as a prison and palliative care volunteer, make themselves known in her sparse but tell-all verse. In this slim volume of poems about her father, Foley offers brief glimpses into moments both before her birth and after: the stoic soldier and the distant father, two lives in one being. The counterpoint provides context that extends far beyond her few words.

Foley’s style resonates with me. Moments are captured in carefully crafted containers of short verse, rich in detail and tight in construction. Consider the contrast of the father in “Yasumé” who made up stories “… at ease, in Japanese/his favorite word” and “the world/powered by a word” (10)—with the one in “Daddy’s Girls” who calls his girls “a Chinese curse” his ease gone and their learning “to turn away/duck his gaze/but still he broke us…” (13).

Another pair portrays the complexities of the man’s lived experience: “Prayer, 1943” with its image of intense focus reframed as prayer (12) while in “WTF!” the father’s words become damning: “You’ve missed an opportunity to please” (14). Of course, the double entendre of “WTF” is not lost on the reader anywhere in the collection; here it is front and center.

Foley has mastered the art of the punchline. Even in short verse, there is often a twist at the end that brings the reader up short, requiring a second, even third reading of the lines to fully savor the impact. I’m thinking, for instance, of “Not Humming,” the harsh demand on forced march and the poet’s observation, “My father not humming / the whole of four winters / or to my knowledge, since” (15). In “My Father’s Roses,” we see the man’s tenderness at its most poignant, his attention to the roses’ care and “tenderly placing each / in its own vase / never minding their thorns” (19). Clearly the poet has not been able to overlook the thorns between them; yet, she is able to appreciate, even celebrate, this tenderness in him in the same breath with which she yearns for some of it for herself.

In thinking about the language Foley uses in her work, I am struck by recurring uses of temperature, particularly variations on “chilly,” “frigid,” “icy”—and how the sense of distance often associated with coldness pervades the poems. Perhaps the most telling line is “for him the war is never over” (“Sendai Prison Camp, 1945” 18), And surely this is the legacy of many who, like Foley’s father, fought in a war of unimaginable horrors, deprivations and unknowns. How could one escape without scars both inside and out? And how could a child understand any of that growing up?

So it is with a sense of compassion for both father and child that the poet offers another kind of twist: “his survivor eyes / just like mine” (“Hindsight” 21) and “Now he’s receiving an award…beaming into the camera / with my pride and feistiness” (“Family Photograph” 29): the father has the daughter’s features, rather than vice versa.

Each poem is a microcosm all its own. Taken together, they weave a pre- and post-collage of a challenging relationship that forms the backdrop for deep self-reflection. The poet manages to offer her story without any trace of self-pity; rather, she stares directly into the truth. It is perhaps this resolve for balance that makes one poem stand out for me—dare I call it my favorite of this collection?—for its compassionate insight, simply stated. “Dad’s Last Night,” in eight short lines, tells a lifetime. And its craft is so exquisitely pure. I keep lingering on the last two lines: “Imagine then / his long walk home.” I cannot help but sense a deeper meaning here, as we imagine his long walk home to her heart.

Foley’s “WTF” is a deceptively modest volume that begs rereading to fully appreciate its depth and reach. Her words will touch each of us in our own way through universal themes of experience and relationship, offered through unique details of a time and place that shaped so many.

WTF Book Review

Here's an excerpt:

I've definitely fallen in love with Foley's writing style...Taking breaths in between the poems, I devoured the book and forgot that it was even a series of poems -- it felt so much like a narrative, it was stunning. Had it had drawings, I probably would have cried even more.

Katherine Zhang

Laura Foley's chapbook WTF is released by CW Books.

Laura Foley's poetry collection Night Ringing (Headmistress Press) is reviewed by Karen Elias in the current issue of Main Street Rag.

Laura Foley's poem "And So" was a Finalist in the Alexandria Quarterly Valentine's Day Contest.

Laura Foley's poem "Corked" is part of the art exhibit: Unnatural Election: Artists Respond to the 2016 US Presidential Elections.

Laura Foley's poem "Message From the Beyond" was a Finalist in the Rash Award for Poetry.

Laura Foley's poem "The Vortex" appears in the Fall/Winter issue of Valparaiso Poetry Review

Laura Foley's poem "In Unison" appeared on Poetry Breakfast

Laura Foley's poem "The Quiet Listeners" appears in the current issue of Poems in the Waiting Room, New Zealand.

Laura Foley has three poems, "Twice the Speed of Sound," "When I Went Out This Morning," and "The Wrangler" featured on Peacock Journal.

Laura Foley's poem "In the Honda Service Area" was featured on Autumn Sky Poetry Daily on September 20th.

Laura Foley's poetry book Night Ringing (Headmistress Press) was reviewed on Savvy Verse and Wit.

Book review of Laura Foley's Night Ringing (Headmistress Press) in The Mom Egg Review:

Laura Foley's poem "The Long View" received High Commendation in the McClellan Poetry Prize, judged by David Constantine

Laura Foley's chapbook "WTF" was a Finalist in the Munster Lit. Fool For Poetry Chapbook Competition

Laura Foley has four poems:  "Ode to My Feet," "Two Women," "Cavafy," and "I Go Down to the River" in Soul-Lit, Summer 2016

Laura Foley's poem "Gratitude List" was read by Garrison Keillor on The Writer's Almanac on July 31st.

She has two poems up at Verse-Virtual, August 2016 edition. Titles: "It Is Time" and "Driving Route 95."

Laura Foley's poem "The Absent Place" appeared on Autumn Sky Daily on July 29th.

Laura Foley's poem "Not Humming" appeared on Autumn Sky Daily on July 1st.

Laura Foley was interviewed on the creative process, by Choral Arts Initiative.

Her poem "The Long View" received "Highly Commended" in the McClellan Poetry Prize, Arran Island, Scotland, judged by David Constantine and she was invited to read at the McClellan Arts Festival, on Arran Island.

Laura Foley's poem "Nine Ways of Looking at Light," winner of the Joe Gouveia Outermost Poetry Award, appeared in the June 2nd issue of Provincetown Magazine.

Laura Foley has four poems in the June issue of Verse-Virtual.