{"id":19080,"date":"2024-08-14T07:00:48","date_gmt":"2024-08-14T11:00:48","guid":{"rendered":"https:\/\/www.cemeterydance.com\/extras\/?p=19080"},"modified":"2024-08-11T16:23:21","modified_gmt":"2024-08-11T20:23:21","slug":"review-tiny-oblivions","status":"publish","type":"post","link":"https:\/\/www.cemeterydance.com\/extras\/review-tiny-oblivions\/","title":{"rendered":"Review: Tiny Oblivions and Mutual Self-Destructions by Maxwell I. Gold"},"content":{"rendered":"<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"19081\" data-permalink=\"https:\/\/www.cemeterydance.com\/extras\/review-tiny-oblivions\/tiny-oblivions\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.cemeterydance.com\/extras\/wp-content\/uploads\/2024\/08\/tiny-oblivions.jpg?fit=311%2C466&amp;ssl=1\" data-orig-size=\"311,466\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tiny-oblivions\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.cemeterydance.com\/extras\/wp-content\/uploads\/2024\/08\/tiny-oblivions.jpg?fit=311%2C466&amp;ssl=1\" class=\"alignright size-medium wp-image-19081\" src=\"https:\/\/i0.wp.com\/www.cemeterydance.com\/extras\/wp-content\/uploads\/2024\/08\/tiny-oblivions.jpg?resize=234%2C350&#038;ssl=1\" alt=\"cover of Tiny Oblivions\" width=\"234\" height=\"350\" srcset=\"https:\/\/i0.wp.com\/www.cemeterydance.com\/extras\/wp-content\/uploads\/2024\/08\/tiny-oblivions.jpg?resize=234%2C350&amp;ssl=1 234w, https:\/\/i0.wp.com\/www.cemeterydance.com\/extras\/wp-content\/uploads\/2024\/08\/tiny-oblivions.jpg?w=311&amp;ssl=1 311w\" sizes=\"auto, (max-width: 234px) 85vw, 234px\" \/><a href=\"https:\/\/www.amazon.com\/Tiny-Oblivions-Mutual-Self-Destructions\/dp\/1947879774\/ref=sr_1_1?crid=S8ZC4KQNIJ64&amp;dib=eyJ2IjoiMSJ9.IWRuheyEopg0uKUyEHWfSg.oJehB47exeC6A-NhzkLTEoyoFS8E9QPEelldb8T-L_Y&amp;dib_tag=se&amp;keywords=Tiny+Oblivions+and+Mutual+Self-Destructions+by+Maxwell+I.+Gold&amp;qid=1723407063&amp;sprefix=tiny+oblivions+and+mutual+self-destructions+by+maxwell+i.+gold%2Caps%2C903&amp;sr=8-1\" target=\"_blank\" rel=\"noopener\"><strong><i>Tiny Oblivions and Mutual Self-Destructions <\/i>by Maxwell I. Gold<\/strong><\/a><br \/>\n<strong>Raw Dog Screaming Press (August 22, 2024)<br \/>\nReviewed by Joshua Gage<\/strong><\/p>\n<p><span style=\"font-weight: 400;\">Maxwell I. Gold is a Jewish-American cosmic horror poet and editor, with an extensive body of work comprising over 300 poems since 2017. His writings have earned a place alongside many literary luminaries in the speculative fiction genre. His work has appeared in numerous literary journals, magazines, and anthologies such as <em>Spectral Realms<\/em>, <em>Weird Tales Magazine<\/em>, <em>Startling Stories<\/em>, <em>Space and Time Magazine<\/em>, <em>Other Terrors: An Inclusive Anthology<\/em>, <em>Chiral Mad 5<\/em>, and many more. Maxwell\u2019s work has been recognized with multiple nominations including the Eric Hoffer Award, Pushcart Prize, and Bram Stoker Awards. His newest collection of prose poetry is <\/span><i><span style=\"font-weight: 400;\">Tiny Oblivions and Mutual Self-Destructions.<\/span><\/i><!--more--><\/p>\n<p><span style=\"font-weight: 400;\">As the title implies, <\/span><i><span style=\"font-weight: 400;\">Tiny Oblivions and Mutual Self-Destructions<\/span><\/i><span style=\"font-weight: 400;\"> is a book of cosmic horror. Titles like \u201cThe Ruinations of Ad\u2019Naigon\u201d and \u201cWe\u2019re Here to Eat You, and Devour the Lights\u201d are clearly traditional cosmic horror in a prose poetry format. Gold is known as a prose poet, and most of his poetry is within that form. Gold is certainly attempting to tap into the Weird tradition, as well, with poems like \u201cProxima Primordia.\u201d He\u2019s in good company here, as Weird and Cosmic horror poetry has always had prose poems, going back to H. P. Lovecraft, if not earlier, and the poems in the collection echo those images and themes.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Prose poetry is an interesting idea because, without line breaks to determine the rhythm and pacing of a poem, readers are left with a block of prose, and are asked to perceive it as a poem, paying attention to the specific techniques and tools used by poets. This not only differentiates prose poems from flash and micro fiction, but also allows the reader to understand that plot and character are less important than language and emotion. Too often in this collection, though, the language is vague and narrative, lacking the concrete imagery or language play that the word \u201cpoetry\u201d would imply. For example, the opening poem \u201cProem for Oblivion,\u201d reads<\/span><\/p>\n<blockquote><p><span style=\"font-weight: 400;\">The body bleeds, the mind rots, and in the end there\u2019s nothing left but<br \/>\n<\/span><span style=\"font-weight: 400;\">madness whose slime unravels the decadence we proclaim to be reality.<br \/>\n<\/span><span style=\"font-weight: 400;\">Piece by piece, the game is played until we tear each other apart in<br \/>\n<\/span><span style=\"font-weight: 400;\">beautiful syncopation as if the gods strung us together for purposes<br \/>\n<\/span><span style=\"font-weight: 400;\">dictated before primal utterances were ever possible.\u00a0<\/span><\/p><\/blockquote>\n<blockquote><p><span style=\"font-weight: 400;\">It was useless to fight, but only to succumb to the pressures of<br \/>\n<\/span><span style=\"font-weight: 400;\">inevitability, heat, and weight until it started all over again, and again as<br \/>\n<\/span><span style=\"font-weight: 400;\">my body bleeds, my mind rots, and in the end there\u2019s nothing left but tiny,<br \/>\n<\/span><span style=\"font-weight: 400;\">tiny oblivions.<\/span><\/p><\/blockquote>\n<p><span style=\"font-weight: 400;\">This is a narrative with a plot, but it lacks the elements that one would expect from a poem &#8212; concrete imagery, metaphor or simile, etc. It reads like a cosmic horror microfiction, not a poem. This does not make it, nor any of the other poems in this collection, bad writing, simply ineffective poems, and if readers reframe their expectations to reading this as a flash fiction or short story collection, the book will probably make more sense.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">That being said, Gold tempts readers late in the book with the idea that he might be exploring other forms. Tucked on page 81 is a litany titled \u201cThe Mouth That Cries Oblivion\u201d that breaks away from the prose poem form. This poem echoes Allen Ginsberg and Walt Whitman\u2019s long, vatic lines, only Gold puts his trademark Weird cosmic horror spin on it, with very interesting results.\u00a0<\/span><\/p>\n<blockquote><p><span style=\"font-weight: 400;\">At the end, out of the mouth inside mirrors or worse, trunks twisted and turned inside-out<br \/>\n<\/span><span style=\"font-weight: 400;\">from blasted woods and burnt philosophies raised Bridges of Nowhere until none<br \/>\n<\/span><span style=\"font-weight: 400;\">crossed the threshold, again<br \/>\n<\/span><span style=\"font-weight: 400;\">At the end, out of the mouth-full-of-stars only hideous regrets as dark as syrup and bile<br \/>\n<\/span><span style=\"font-weight: 400;\">dripped from the teeth and tightly pulled skin-walls too high to climb, too wide to <\/span> <span style=\"font-weight: 400;\">scale, but terrible in name,<br \/>\n<\/span><span style=\"font-weight: 400;\">At the end, out of the mouth, cities crumbled by sacred word, unholy sword and light<br \/>\n<\/span><span style=\"font-weight: 400;\">misconstrued through doctrine curled like fork tongue by Crimson Faced devils<\/span><\/p><\/blockquote>\n<p><span style=\"font-weight: 400;\">This poem is rich in language and surreal, damned imagery. Gold is tapping into new sources of poetic forms and poetic craft here, and this hidden gem of the book really stands out as the pinnacle of the collection.<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Tiny Oblivions and Mutual Self-Destructions<\/span><\/i><span style=\"font-weight: 400;\"> is a book of cosmic horror and Weird prose poems; however, most of the pieces in this book lack the requisite craft to be considered poems or poetry, and the collection reads more like a series of flash fiction and micro stories. The writing is vague and ethereal, as one would expect from such topics, with the lone exception of \u201cThe Mouth That Cries Oblivion,\u201d which is clearly the strongest poem of the collection by far. Poems like that prove that Gold has the skill to craft tight horror poems when he chooses to break away from his trademark prose poems and should be encouraged. For fans of Gold\u2019s other books and for fans of Weird and Cosmic horror, this collection will not disappoint.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tiny Oblivions and Mutual Self-Destructions by Maxwell I. Gold Raw Dog Screaming Press (August 22, 2024) Reviewed by Joshua Gage Maxwell I. Gold is a Jewish-American cosmic horror poet and editor, with an extensive body of work comprising over 300 poems since 2017. His writings have earned a place alongside many literary luminaries in the &hellip; <a href=\"https:\/\/www.cemeterydance.com\/extras\/review-tiny-oblivions\/\" class=\"more-link button bg-gold white\">Continue Reading!<span class=\"screen-reader-text\"> &#8220;Review: Tiny Oblivions and Mutual Self-Destructions by Maxwell I. Gold&#8221;<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[80],"tags":[506,2937,79,3209],"class_list":["post-19080","post","type-post","status-publish","format-standard","hentry","category-reviews","tag-joshua-gage","tag-maxwell-i-gold","tag-reviews","tag-tiny-oblivions-and-mutual-self-destructions"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Review: Tiny Oblivions and Mutual Self-Destructions by Maxwell I. 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