Cover of We, the Women (Guernica Editions, 2006)
Year: 2006
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Synopsis: This collection plumbs the nuances and vagaries which define our relationships and the shifting moments of lover, abuser, victim, and healer. The imagery in We, the Women is at once startling and evocative. Poems of layered scenes of domesticity and of the natural world border on the elegiac. In this richly textured collection, Nudelman celebrates the transformative power of love and spiritual awakening.

Testimonial(s)

“In her second book, Merle Nudelman writes with the accomplishment and confidence of an established poet. Her poems possess that rare combination of emotional astuteness and a penetrating depth of vision. In this volume, We, the Women, Nudelman establishes herself as a voice who speaks from the courage of an astute, caring and defiantly humane heart.” − Bruce Meyer.


Awards

Awarded an Honorable Mention in the 2007 Arizona Authors Association Literary Contest.


The Peacemaker

At eighty-five he's a man of birch twigs,
his voice reedy with pining for dad.
A dandy in a gold tie that splashes
when he embraces my brother.
I peck uncle's cheek and he opens
savior arms like a prayer shawl, a shaman
tent we burrow inside while he enfolds
us, strayed from the path home. “Kiss
each other” and we obey while he holds
us. We are branches twisting in distrust,
he is the trunk's heart confident that kisses
can glue a tree whole. In the hall we pose
for a photograph of this tenuous moment
but the film fails and we disappear.

Excerpt from Variations on the Last Time

v.
The last time I see her she wears
the beige dress for remembrance,
her maroon panic-coat. It flaps
reprovingly in the wind.
I see her, see her as she is −
a disappointed orchid.
Although tomorrow beckons her
she resists and leaves me
with a clumsy packet of tears and shadows.

vi.
The last time I saw her
I didn't know the last had entered my door,
didn't know the phrases to rouse her.
The swaying machine of her heart crackled,
but I didn't hear it, nor did I notice
the night's stealthy corners,
the silvered edges of her hands
moths on the table.