87 Books Like Rose

It’s a beautiful book, from the cover to the notes. It’s a neo-slave narrative that follows various enslaved, then freed people. Through this book, I learned how poetry collections can be explorations of history based on fact.

Like any good collection, reading one poem compels you forward, but each poem can stand on its own. She is a master of form. For instance, her persona poetry is powerful. The first poem in the book, “The Trapper’s Boast,” devoid of empathy, shows the business of slavery from an undesirable point of view. 

But what is moving is the ability to fall in love and to care even in the worst conditions, as well as the will to live and strive towards freedom in spite of any threats.

I started writing neo-slave narrative poems about a woman escaping slavery. I imagined that the poems I was writing, like Suck on the Marrow… show more.

This is a biography of Mother Ann Lee, the woman who brought the Shaker Religion to Colonial America. Extensively researched and beautifully rendered, these poems grab you and bring you into eighteenth-century England and New England. It is also a celebration of motherhood, love, death, and grief, as well as of an early American woman in leadership. Sometimes deceptively soft, the movement and violence of Colonial America will snap the reader forward, inviting us to question our past.

I revisited Ross’ book when writing about historical figures, mostly real. In my book, I looked at some historical figures, including Tituba and Harriet Tubman, and found reading Seedlip and Sweet Apple a good primer in writing historical poetry.

Physically, a beautiful book. There are these drawings made with scratchboard illustrations and actual lace from a factory in Scranton, PA. The poems are gorgeous, whimsical pieces about a young woman in particular, but working women in general who produced lace. 

Though historical, the factory did not close until 2002, and the building still stands. The book, however, is set in the past, in the 1930s, and follows a lesbian who works in the factory. I love the way that both Douaihy and Hermanson play with negative space, the white, and the dark of letters or lace. 

Of course, I looked to this book for the historicity of it, and how Douaihy handled one character over time.

This book mixes personal poetry and history and art and space. It is a wonder! Smith looks at the Hubble Telescope and all of its marvels along with one of its engineers, her father Floyd Smith. 

Smith mixes stars, David Bowie, mass shootings, love, racism, sexism all in this poetry collection and somehow, it works. It more than works. It explodes! 

I don’t know if this work has much to do with my own; there is history, yes, and there is social commentary. But mostly, there is excellent poetry that is exemplary for any poet writing today.

Hamilakis’s Archaeology and the Senses was one of the first books I read when starting to explore multisensory history, and it totally altered my view of how we study the past.

Focusing on Bronze-Age Crete, Hamilakis examines how archaeology has engaged with the bodily senses thus far and critiques its emphasis on sight and the traditional hierarchy of the five senses in the west.

Moreover, he proposes an innovative and exciting means by which archaeology can move beyond its focus on visual experiences of artefacts, environments, and materials to bring in lost and neglected, yet just as important, bodily senses such as sound, smell, taste, and touch.

Through this approach to archaeology he seeks to evoke a deeper, richer insight into the breadth of human experience in past societies.

Historian Mark Smith has written widely on the topic of understanding sensory experiences of the past.

At just over 100 pages long, his most recent book is an excellent insight into the field for both those new to it, and those who are already familiar with writing history of the senses.

Starting with an overview of the origins of sensory history and moving through to consider both the strengths and challenges of current research in this area, Smith concludes this book with a clear, accessible, and persuasive argument for future directions of work in the field.

I cannot recommend this book highly enough for anyone interested in exploring sensory history!

I’ve been fascinated by all living organisms since my early childhood on Long Island. In our suburban yard, I would sit raptured, watching the hunting techniques of praying mantises, the burrowing ability of earthworms, or the seemingly drunk behavior of cedar waxwings after feasting on over-ripe berries. But I never fully appreciated the intricacies of animal behavior until I read this book. 

What Ed Yong masterfully achieves in this 400-page text is neither a Disney-like humanizing of other species nor an overly scientific explanation of how creatures respond to their environment. Rather, he brings us to a place where we are no longer perceiving other organisms through human eyes but through their own complex senses. 

This greatly increased my fascination with the natural world and, consequently, my need to preserve every precious species on this earth.

What did Tudor England look, sound, or smell like?

This is an innovative work from Amy Licence, historian of women's lives. Using the five senses, she skilfully plunges readers into sixteenth-century England, letting us see, hear, smell, taste, and (almost) touch the Tudor world like we've never experienced it before.

Told in lyrical language, two children wander through their city, looking for “wild” and finding it in motion, size, sounds, touch, and smell.“It leaps and pounces and  shows its teeth.” The words dance around, hinting at flora and fauna, using adjectives and verbs to suggest and evoke. This journey arouses awareness of the natural world that lives all around us in the city. Young readers will enjoy guessing what is being hinted at. This is such an original way to talk about the urban wild!  

This is THE book to read on the senses, so I’m stating the obvious here. But let me tell you why it must be at the top of my list. Diane Ackerman takes us through a series of sensuous experiences, from extreme cold to a delicious massage to a thought-provoking meal.

But what’s remarkable is that because she’s a poet, her words pull you out of your mind and into your eyes, ears, nose, mouth, and skin cells. Here’s just one line. “Words are small shapes in the gorgeous chaos of the world. But they are shapes; they bring the world into focus, corral ideas, hone thoughts, paint watercolors of perception.” Like it? This book is full of them, and they left me tingling.