Poetry. "Not since Emily Dickinson, and William Bronk (Sherry Kearns' beloved friend and mentor) has a poet brought so much gnomic utterance and cognitive lyricism to the page. Through the gift of her eyes' thought the nature of reality, or our experience of it, is made the clearer, brought the nearer, even in the moment of ruin (being actually the moment of revelation, where the difference between perception and cognition disappears). In the miraculous instant made apparent, we are brought as witness to a world where 'time's exchange / with infinity thrusts / its white lights / outward / pushing the dark / ahead of itself.', and our human constructions, enormous though they be to us, are revealed as the child's toyed-with-blocks that they are—under gravity's pull (or in their beholding, held there under gravity's spell)—'lean in suspension / of belief', and what falls falls as 'quarried giants, into / uncreated chaos', or more gently like 'This: the white lilacs / and of snow / falling in auras / through halos / of streetlamp light / filling roads and / sidewalks as if / stars' numberless markers were / filling night's faceless clock.'"—Robert Murphy
Sherry Moore Kearns' writing has appeared in the following publications: Transition, Blueline, Poetry New York, The Glens Falls Review, Sagetrieb, The Greenfield Review, North Country Review, The Body of This Life (Talisman House, 2001) and The Facts on File Companion to 20th-Century American Poetry (Facts on File, Inc., 2005). She is the author of Sister (Poetry New York, 1999), The Ginko at 57 Pearl St. (James L. Weil, 2005) and DEEP KISS (Dos Madres Press, 2013). SUNY Adirondack published her essays Conversations About Poetry as part of their poetry and art series inspired by the William Bronk Collection. A past recipient of a grant from New York State's Creative Artists Public Service (CAPS) program, Kearns also received the William Bronk Foundation prize for her memoir Meeting Bill.
Author City: CLEVERDALE, NY USA