First review for The Don’t Touch Garden

Amsterdam Quarterly‘s Bryan R.  Monte has reviewed Kate Foley‘s The Don’t Touch Garden

Last is a poetry book by British-born, Amsterdam resident and local treasure, Kate Foley. The Don’t Touch Garden is a compilation of poems from six of Foley’s previous books. These poems are about birth, adoption, childhood, family and the search, albeit too late, for one’s biological parent. This new edition of these poems by Arachne Press is bound in a wrap-around photo cover of a garden with a gate and a bench which, despite the book’s title, seems to welcome one in. This book, like Klein’s, is small enough to fit into a coat pocket and is the type of book I would read and meditate on when I was younger as I wandered around my town “looking for the trapdoor out of suburbia.” In “Bison” Foley comments on her almost lifelong lack of knowledge of her biological parents: “My pre-history is a blank as a people without pots/or bones.” Or with advancing age, suddenly finding our parents in the mirror as we begin to resemble them unwittingly physically and psychologically. The poem “Paradox” also discusses this voyage of discovery of parentage: “Mirror, mirror on the wall/the old joke goes/I am my mother after all.//but which ?” It also illustrates her advice in the introduction to this volume: “to parent the face we find in the mirror.” It is a brave book, which recreates what some children growing up were probably told to (and would like to forget), but which others feel impelled to explore to understand who they really are.

The Don’t Touch Garden includes poems about war-time Britain, (the title poem being the longest and the most interesting in this collection to me due to its historical nature), poems about young parents, “Corchipoo,” (including a young child overhearing her parents having sex) and an abusive, adoptive uncle “The Man on the Bike.” In this poem, the adoptive mother asks: “Tell me! What did he say?”//She means ‘What did he do?’” The tensions between wondering about who her birth parents were, to trying to find a place in a home where she doesn’t seem to fit due to her expanding poetic perception and her parents more restricted worldview (whom she takes care of as they age) continues throughout the book including the poem, “The End of a Long Conversation” where she literally zips one of her parents into a body bag. The Don’t Touch Garden is small, beautiful, thought-provoking book, which should be in every English-language collection about adoption and searching for one’s true parentage.

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