Reviewed by Sheila Black

The Morphine Poems is a sequence of prose poems by poet Bobbi Lurie loosely covering a period of the ਍猀瀀攀愀欀攀爀ᤀ猠 氀椀昀攀 眀栀攀渀 猀栀攀 椀猀 猀琀爀甀最最氀椀渀最 眀椀琀栀 挀愀渀挀攀爀⸀ 吀栀椀猀 椀猀 渀漀琀 挀漀渀瘀攀礀攀搀 椀渀 愀 搀椀爀攀挀琀 渀愀爀爀愀琀椀瘀攀 昀漀爀洀 戀甀琀 爀愀琀栀攀爀 琀栀爀漀甀最栀 ഀഀ gesture, off-hand remark, sideways image in which the reader must piece together the life from the details.

Around these large questions, the book creates a sustained yet impressionistic narrative, one that gathers complexity ਍愀渀搀 昀漀爀挀攀 椀渀 瀀愀爀琀 琀栀爀漀甀最栀 琀栀攀 挀漀洀瀀爀攀猀猀椀漀渀 瀀漀攀琀爀礀 愀氀氀漀眀猀☀渀搀愀猀栀㬀琀栀攀 眀愀礀 椀洀愀最攀猀 挀愀渀 猀漀洀攀琀椀洀攀猀 搀漀 洀漀爀攀 眀漀爀欀 琀栀愀渀 愀 眀栀漀氀攀 ഀഀ paragraph of exposition, diction can be high and low, mashing together discourses from different lexicons, juxtaposing ਍搀椀昀昀攀爀攀渀琀 爀攀最椀猀琀攀爀猀Ⰰ 琀栀攀 眀愀礀 愀 戀爀椀攀昀 猀琀愀渀稀愀 挀愀渀 攀瘀漀欀攀 愀 渀漀瘀攀氀ⴀ礀攀琀ⴀ琀漀ⴀ戀攀 眀爀椀琀琀攀渀⸀ 吀栀攀 猀栀攀攀爀 挀漀洀瀀爀攀猀猀椀漀渀 漀昀 䰀甀爀椀攀ᤀ猠 ഀഀ technique is strikingly illustrated by these lines from the poem "horrors of morphine" which opens the ਍ 戀漀漀欀㨀 㰀⼀瀀㸀ഀഀ

forgive them says who not being jesus for no reason for friends will ਍最爀攀攀琀 礀漀甀 搀椀昀昀攀爀攀渀琀氀礀 氀椀欀攀 猀漀洀攀漀渀攀 琀栀攀礀 欀渀攀眀 漀渀挀攀 戀甀琀 琀栀漀甀最栀琀 栀愀搀ഀഀ died on an island they forgot the name of but just the same they greet ਍礀漀甀 愀渀搀 挀氀漀愀欀 礀漀甀 眀椀琀栀 渀攀眀猀 漀昀 琀栀攀椀爀 氀愀琀攀猀琀 愀搀搀椀挀琀椀漀渀猀 愀渀搀 愀搀洀椀琀 愀琀ഀഀ last that what surprises them is to see you still alive like someone they ਍氀漀瘀攀搀 漀渀挀攀 戀甀琀 渀漀眀 挀栀漀漀猀攀 琀漀 氀椀攀 琀漀 氀椀欀攀 猀漀洀攀漀渀攀 愀戀愀渀搀漀渀攀搀 椀渀 愀 昀椀攀氀搀ഀഀ of regret your friends greet you like a stranger rearrange you in their ਍洀椀渀搀 昀漀爀 琀栀攀礀 栀愀瘀攀 戀漀漀欀猀 琀漀 猀攀氀氀 愀渀搀 漀渀攀 挀愀氀氀猀 栀攀爀 爀攀愀搀攀爀猀 栀攀爀 ☀焀甀漀琀㬀昀愀渀猀☀焀甀漀琀㬀ഀഀ her thighs are not tanned but cellulite while you bleed to death she sees ਍礀漀甀 椀渀 愀 搀椀昀昀攀爀攀渀琀 氀椀最栀琀㰀⼀瀀㸀ഀഀ ਍㰀瀀㸀䄀猀 琀栀椀猀 搀攀洀漀渀猀琀爀愀琀攀猀Ⰰ 䰀甀爀椀攀ᤀ猠 椀猀 愀 渀愀爀爀愀琀椀瘀攀 搀攀渀猀攀 眀椀琀栀 愀氀氀甀猀椀漀渀猀 愀渀搀 愀氀猀漀 漀渀攀  眀栀椀挀栀 爀攀氀椀攀猀  洀甀挀栀 ഀഀ on "white space" or "silence." Often we have the feeling that the poems are responding to specific ਍椀渀挀椀搀攀渀琀猀Ⰰ 戀甀琀 漀渀攀猀 琀栀愀琀 愀爀攀 渀漀琀 猀瀀攀氀氀攀搀 漀甀琀 昀漀爀 甀猀㬀 琀栀攀 瀀漀攀洀猀 愀爀攀 愀氀猀漀 爀攀猀瀀漀渀搀椀渀最 琀漀 漀爀 戀甀椀氀搀椀渀最 漀渀 攀愀挀栀 漀琀栀攀爀 猀漀 琀栀愀琀 ഀഀ similar terms, images, or motifs appear across multiple poems. In a recent interview, Lurie descries the process by ਍眀栀椀挀栀 猀栀攀 搀攀瘀攀氀漀瀀猀 椀渀搀椀瘀椀搀甀愀氀 瀀漀攀洀猀 椀渀琀漀 愀 挀漀洀瀀氀攀琀攀 洀愀渀甀猀挀爀椀瀀琀Ⰰ 琀栀甀猀氀礀㨀  㰀⼀瀀㸀   ഀഀ

I order the poems into a narrative. That is important to me. It can be surprising at first: going through poems, ਍搀椀猀挀漀瘀攀爀椀渀最 愀 瀀愀琀琀攀爀渀 漀昀 洀攀洀漀爀椀攀猀 愀渀搀 椀搀攀愀猀Ⰰ 氀漀漀欀攀搀 愀琀 愀猀 愀 眀栀漀氀攀⸀ 吀栀攀 瀀愀琀琀攀爀渀 椀猀 挀爀攀愀琀攀搀 氀漀渀最 愀昀琀攀爀 琀栀攀 瀀漀攀洀猀 栀愀瘀攀 ഀഀ been made. Seeing a whole new entity emerge is very exciting. Keeping to it, building on it, having the right tone, ਍琀栀攀 爀椀最栀琀 洀甀猀椀挀Ⰰ 椀猀 瘀攀爀礀 挀栀愀氀氀攀渀最椀渀最⸀ 㰀⼀瀀㸀ഀഀ

As one reads through the book, one gains a sense of this later ordering as providing a space for reflection. In ਍琀栀攀 挀栀漀椀挀攀猀 䰀甀爀椀攀 洀愀欀攀猀Ⰰ 眀攀 愀瀀瀀爀攀栀攀渀搀 琀栀攀 瀀爀攀猀攀渀挀攀 漀昀  琀栀攀 漀爀最愀渀椀稀椀渀最 洀椀渀搀 爀攀昀氀攀挀琀椀渀最 漀渀 愀渀搀 昀爀攀焀甀攀渀琀氀礀 挀漀渀猀椀搀攀爀椀渀最 焀甀椀琀攀ഀഀ coolly the terrible immediate feelings that the individual poems often document. The Morphine Poems takes no ਍瀀爀椀猀漀渀攀爀猀 椀渀 椀琀猀 漀昀琀攀渀 栀攀愀搀氀漀渀最Ⰰ 最爀椀攀昀ⴀ猀琀爀椀挀欀攀渀Ⰰ 愀渀搀 挀栀愀漀琀椀挀 搀攀瀀椀挀琀椀漀渀 漀昀 眀栀愀琀 椀琀 昀攀攀氀猀 氀椀欀攀 琀漀 栀愀瘀攀 愀 猀攀爀椀漀甀猀 椀氀氀渀攀猀猀Ⰰ ഀഀ but it keeps from being predictable or self-pitying. The process of "ordering into narrative," seems to ਍瀀爀漀瘀椀搀攀 䰀甀爀椀攀 眀椀琀栀 愀 眀愀礀 漀昀 爀攀猀琀爀甀挀琀甀爀椀渀最 栀攀爀 椀洀洀攀搀椀愀琀攀 昀攀攀氀椀渀最猀 椀渀琀漀 猀漀洀攀琀栀椀渀最 洀甀挀栀 氀愀爀最攀爀 愀渀搀 猀琀爀愀渀最攀爀☀渀搀愀猀栀㬀愀 ഀഀ narrative at once brutally close and distant as prophecy. Initially, the poems are not easy to approach–blocks ਍漀昀 琀攀砀琀 眀椀琀栀 渀漀 瀀甀渀挀琀甀愀琀椀漀渀㬀  琀栀攀礀 攀挀栀漀  琀栀攀 瘀攀搀椀挀 漀爀 瀀爀漀瀀栀攀琀椀挀 愀渀搀 洀礀猀琀椀挀 搀攀渀猀椀琀礀 漀昀 猀甀挀栀 瀀椀漀渀攀攀爀猀 漀昀 昀攀洀愀氀攀 ഀഀ writing/language and creation as Djuna Barnes, HD, and Maya Deren. Yet once you sink in, the words are charged, ਍爀攀瘀攀氀愀琀漀爀礀 愀渀搀 栀椀最栀氀礀 挀漀渀挀爀攀琀攀☀渀搀愀猀栀㬀愀搀搀爀攀猀猀椀渀最 琀栀攀 瀀愀爀琀椀挀甀氀愀爀猀 漀昀 琀栀攀 瀀愀琀椀攀渀琀 攀砀瀀攀爀椀攀渀挀攀 椀渀 戀甀爀猀琀猀 漀昀 瘀椀琀愀氀 椀洀愀最攀爀礀 ഀഀ leavened with a strong vein of gallows humor:

the altar is a menace

਍ഀഀ my wallet reprimanded my body put through torture yet morale ਍攀砀瀀攀挀琀攀搀 琀漀 戀攀 猀琀爀漀渀最 椀渀 猀瀀椀琀攀 漀昀 氀椀昀攀 琀甀爀渀椀渀最 椀渀琀漀 昀漀爀洀椀挀愀 挀漀甀渀琀攀爀猀ഀഀ bottles of pills and beyond that abrasive therapies surgeries and ਍眀漀爀爀椀攀猀 琀栀攀 猀甀爀昀愀挀攀 漀昀 攀砀椀猀琀攀渀挀攀 琀栀攀 瀀爀攀搀椀挀琀愀戀氀礀 瀀愀爀挀栀攀搀 氀椀瀀猀 愀渀搀 猀挀愀爀猀ഀഀ many scars how alone one is diminished by sickness the doctor’s ਍瀀漀挀欀洀愀爀欀攀搀 昀愀挀攀 甀瀀 挀氀漀猀攀 愀猀 琀栀攀 椀瘀 搀爀椀瀀猀 ☀焀甀漀琀㬀椀ᤀ氠氀 欀椀氀氀 礀漀甀Ⰰ☀焀甀漀琀㬀 猀愀礀猀 栀攀Ⰰ ☀焀甀漀琀㬀琀栀攀渀ഀഀ keep you alive" and i….i…i…

Titles are important to Lurie, and the poems, while often going to a lyric or visionary place, achieve a good ਍ 瀀漀爀琀椀漀渀 漀昀 琀栀攀椀爀 攀昀昀攀挀琀 琀栀爀漀甀最栀 䰀甀爀椀攀ᤀ猠 洀漀爀搀攀渀琀 眀椀琀᐀栠攀爀 眀椀氀氀椀渀最渀攀猀猀 琀漀Ⰰ 椀渀 琀栀攀 眀漀爀搀猀 漀昀 吀漀渀礀 䠀漀愀最氀愀渀搀 椀渀 栀椀猀 攀猀猀愀礀ഀഀ "Negative Capability" "talk mean and influence people." As Hoagland points out, there is ਍☀焀甀漀琀㬀琀爀甀琀栀ⴀ琀攀氀氀椀渀最 愀渀搀 洀漀爀攀 椀渀 洀攀愀渀渀攀猀猀Ⰰ☀焀甀漀琀㬀 愀渀搀 椀渀 琀栀攀 挀愀猀攀 漀昀 䰀甀爀椀攀ᤀ猠 眀漀爀欀 琀栀椀猀 琀爀甀琀栀ⴀ琀攀氀氀椀渀最 椀猀 椀洀瀀漀爀琀愀渀琀 ഀഀ in reframing typical attitudes towards illness and disability. As a person with a "medical history" ਍ ⠀愀渀搀Ⰰ 爀攀愀氀氀礀Ⰰ 眀栀漀 搀漀攀猀渀ᤀ琠 栀愀瘀攀 ☀焀甀漀琀㬀愀 洀攀搀椀挀愀氀 栀椀猀琀漀爀礀㼀☀焀甀漀琀㬀⤀Ⰰ 䤀 愀瀀瀀爀攀挀椀愀琀攀搀 琀栀攀 戀漀漀欀ᤀ猠 椀渀琀攀渀猀攀 愀眀愀爀攀渀攀猀猀 漀昀ഀഀ the tyranny of pretending bodies somehow "should not" change or decay, that illness is a crime–or ਍ 愀琀 琀栀攀 瘀攀爀礀 氀攀愀猀琀 愀 瀀攀爀猀漀渀愀氀 昀愀椀氀甀爀攀☀渀搀愀猀栀㬀愀渀搀 搀椀猀愀戀椀氀椀琀礀 攀焀甀愀氀氀礀 猀漀⸀ 㰀⼀瀀㸀 ഀഀ ਍㰀瀀㸀 䰀甀爀椀攀 椀猀 渀漀琀 猀栀礀 愀戀漀甀琀 攀砀瀀爀攀猀猀椀渀最 栀攀爀 挀漀渀琀攀洀瀀琀 昀漀爀 琀栀椀猀 洀攀搀椀挀愀氀 瀀爀攀琀攀渀猀攀 愀渀搀 琀栀攀 攀氀愀戀漀爀愀琀攀 挀甀氀琀甀爀攀 漀昀 瀀爀攀琀攀渀搀椀渀最 ഀഀ people who are sick or disabled should be somehow otherwise, which in Lurie’s view often additionally tortures those ਍眀椀琀栀 猀攀爀椀漀甀猀 椀氀氀渀攀猀猀 愀渀搀⼀漀爀 瀀栀礀猀椀挀愀氀 愀渀搀 洀攀渀琀愀氀 搀椀猀愀戀椀氀椀琀椀攀猀Ⰰ 漀爀 愀猀 䰀甀爀椀攀 眀爀椀琀攀猀㨀 ☀焀甀漀琀㬀 渀漀 氀漀渀最攀爀 愀 眀漀爀氀搀 椀渀 愀 瘀愀氀氀攀礀ഀഀ of skulls beneath the skin faking it for so/long that the dying ones are lonely." In poem after poem, Lurie makes ਍ 礀漀甀 昀攀攀氀 瘀椀猀挀攀爀愀氀氀礀 琀栀愀琀 琀栀攀 渀漀琀椀漀渀 漀昀 琀栀攀 戀漀搀礀 愀猀 漀渀攀 椀渀 眀栀椀挀栀 椀氀氀渀攀猀猀Ⰰ 搀椀猀愀戀椀氀椀琀礀Ⰰ 漀爀 挀栀愀渀最攀 椀猀 琀栀攀 攀砀挀攀瀀琀椀漀渀Ⰰ 椀猀 愀 ഀഀ lie–a profoundly unnatural construction—and its very unnaturalness explains the silencing, policing, and outright ਍漀瀀瀀爀攀猀猀椀漀渀 眀栀椀挀栀 瀀攀漀瀀氀攀 眀栀漀 愀爀攀 猀椀挀欀 漀爀 搀椀猀愀戀氀攀搀 漀昀琀攀渀 昀愀挀攀᐀挠愀猀琀 愀猀 漀甀琀氀椀攀爀猀 漀爀 漀甀琀猀椀搀攀爀猀 椀渀 琀栀攀 最愀洀攀 漀昀 氀椀昀攀 攀瘀攀爀礀漀渀攀 ഀഀ else is playing–or as Lurie puts it: "…so why talk /intentionality if betrayal is in the eye of the beholder ਍椀琀猀 瀀甀爀瀀漀猀攀 漀渀攀 ⼀琀栀椀渀最 甀渀椀渀琀攀渀搀攀搀 眀爀攀猀琀氀椀渀最 愀 眀漀爀搀 眀栀椀挀栀 洀椀最栀琀 栀愀瘀攀 戀攀攀渀 愀 猀椀氀攀渀琀 琀栀椀渀 瘀攀渀攀攀爀 漀昀 挀愀爀椀渀最  椀琀ᤀ猠 愀 洀礀琀栀ഀഀ that’s why."

As I read through The Morphine Poems and considered the various issues of embodiment, social position, ਍挀漀渀渀攀挀琀椀漀渀Ⰰ 椀氀氀渀攀猀猀 愀渀搀 氀漀猀猀Ⰰ 䰀甀爀椀攀 攀砀瀀氀漀爀攀猀Ⰰ 䤀 欀攀瀀琀 琀栀椀渀欀椀渀最 漀昀 琀栀攀 眀漀爀搀 ☀焀甀漀琀㬀渀漀猀琀愀氀最椀愀☀焀甀漀琀㬀 ☀渀搀愀猀栀㬀琀栀愀琀 挀漀洀瀀漀甀渀搀 ഀഀ word "consisting of νόστος, nóstos, "returning home", a Homeric word, and ἄλγος, álgos, "pain" ਍漀爀 ☀焀甀漀琀㬀愀挀栀攀⸀☀焀甀漀琀㬀  吀栀攀 挀漀渀挀攀瀀琀 漀昀 渀漀猀琀愀氀最椀愀 椀猀 椀渀琀攀爀攀猀琀椀渀最 戀攀挀愀甀猀攀 椀琀 挀愀渀 戀攀 猀攀攀渀 愀猀 戀漀琀栀 愀 最漀漀搀 琀栀椀渀最☀渀搀愀猀栀㬀琀礀椀渀最 ഀഀ you to your roots–and a kind of illness or pathology in which one is unable to live fully live in the present ਍戀攀挀愀甀猀攀 琀栀攀 瀀爀攀猀攀渀琀 椀猀 挀漀渀琀椀渀甀愀氀氀礀 戀攀椀渀最 椀渀琀攀爀爀甀瀀琀攀搀 戀礀 愀渀 漀昀琀攀渀 椀搀攀愀氀椀稀攀搀 瘀椀猀椀漀渀 漀昀 琀栀攀 瀀愀猀琀 眀栀椀挀栀Ⰰ 椀渀 琀甀爀渀Ⰰ 挀爀攀愀琀攀猀ഀഀ an unanswerable longing. For me The Morphine Poems possesses a similar duality in its passionate consideration ਍ 漀昀 琀栀攀 戀漀搀礀⸀ 䤀渀 愀 猀攀渀猀攀 琀栀椀猀 椀猀 愀 戀漀漀欀 愀戀漀甀琀 搀攀愀琀栀㬀 礀攀琀 椀琀 椀猀 攀焀甀愀氀氀礀  愀 戀漀漀欀 愀戀漀甀琀 挀漀渀渀攀挀琀椀漀渀⸀  䰀甀爀椀攀 搀攀挀爀椀攀猀 漀甀爀ഀഀ failure to connect truly, and the tragedy of the decline and fall of the body–every body. Yet the deeper ਍甀渀搀攀爀氀礀椀渀最 愀爀最甀洀攀渀琀 漀昀 栀攀爀 戀漀漀欀 椀猀 愀戀漀甀琀 栀漀眀 琀栀攀 昀愀椀氀甀爀攀 琀漀 挀漀渀渀攀挀琀 栀漀渀攀猀琀氀礀 眀椀琀栀 琀栀攀 琀爀甀琀栀 漀昀 琀栀攀 戀漀搀礀☀渀搀愀猀栀㬀琀漀 ഀഀ acknowledge that truth, however difficult–is a source of suffering, pain, and dis-connection for all of us. ਍ 䄀猀 䰀甀爀椀攀 琀椀琀氀攀猀 漀渀攀 漀昀 栀攀爀 瀀漀攀洀猀 ☀焀甀漀琀㬀琀栀攀 愀渀琀椀搀漀琀攀 琀漀 瀀愀椀渀 椀猀 洀漀爀攀 瀀愀椀渀⸀☀焀甀漀琀㬀 㰀⼀瀀㸀ഀഀ ਍㰀瀀㸀 䄀猀 㰀攀洀㸀吀栀攀 䴀漀爀瀀栀椀渀攀 倀漀攀洀猀㰀⼀攀洀㸀 洀漀瘀攀猀 琀漀眀愀爀搀 椀琀猀 挀漀渀挀氀甀猀椀漀渀Ⰰ 䰀甀爀椀攀ᤀ猠 搀椀猀愀瀀瀀漀椀渀琀洀攀渀琀 椀渀 琀栀攀 椀渀愀搀攀焀甀愀挀礀 漀昀 漀甀爀 猀漀挀椀愀氀 ഀഀ engines to hearten, sustain, or nurture enough–a theme which seems especially timely in this age of ਍䘀愀挀攀戀漀漀欀ⴀⴀ最椀瘀攀猀 眀愀礀 琀漀 愀 猀攀爀椀攀猀 漀昀 爀愀搀椀愀渀琀  洀攀搀椀愀琀椀漀渀猀 漀渀 眀栀愀琀 眀漀甀氀搀 挀漀渀猀琀椀琀甀琀攀 愀 洀漀爀攀 挀漀渀渀攀挀琀攀搀 眀愀礀 琀漀 氀椀瘀攀㨀 㰀⼀瀀㸀ഀഀ ਍㰀瀀 挀氀愀猀猀㴀∀椀渀搀攀渀琀眀栀漀氀攀∀㸀㰀猀琀爀漀渀最㸀氀椀昀攀 琀栀攀渀 愀猀栀 栀攀爀攀ⴀ渀漀眀 戀攀礀漀渀搀 焀甀攀猀琀椀漀渀㰀⼀猀琀爀漀渀最㸀㰀戀爀㸀㰀戀爀㸀ഀഀ ਍洀愀琀攀爀椀愀氀椀稀攀搀 愀挀爀漀猀猀 洀礀 氀椀昀攀 愀 瀀愀琀栀 愀 猀愀搀渀攀猀猀 椀 栀愀搀 渀漀琀 瀀氀愀渀渀攀搀 昀漀爀 渀漀ഀഀ grace to surprise my gestures always settle for less said my fear an ਍甀渀栀漀甀猀攀搀 挀爀攀愀琀甀爀攀 搀愀爀欀 愀渀搀 戀愀爀戀攀搀 眀椀氀搀 眀漀爀搀猀 猀椀氀攀渀琀 椀渀 猀攀氀昀 愀挀琀椀漀渀猀ഀഀ paralyzed no joy he said find something of joy each day i lay my head on ਍栀椀猀 挀栀攀猀琀 甀渀猀挀爀椀瀀琀攀搀 挀氀漀猀攀渀攀猀猀 猀瀀漀渀琀愀渀攀漀甀猀 琀栀攀 昀椀瘀攀 猀攀渀猀攀猀 椀渀猀椀搀攀ഀഀ marked a path of troubled space receding into dead leaves shame to be ਍欀攀瀀琀 愀氀椀瘀攀⸀  㰀⼀瀀㸀ഀഀ ਍㰀瀀㸀䰀甀爀椀攀 椀猀 琀漀漀 最漀漀搀 愀 眀爀椀琀攀爀 琀漀 昀漀戀 甀猀 漀昀昀 眀椀琀栀 琀栀攀 甀猀甀愀氀 琀栀爀攀愀搀戀愀爀攀 猀瀀椀爀椀琀甀愀氀 琀爀漀瀀攀猀㬀 琀栀攀 瘀椀猀椀漀渀 漀昀 琀爀愀渀猀挀攀渀搀攀渀挀攀 ഀഀ she seeks arises more closely, directly from her experience of pain, frustration, silence, one she answers through a ਍ 氀愀渀最甀愀最攀 琀栀愀琀 椀猀 漀戀氀椀焀甀攀 礀攀琀 愀甀琀栀攀渀琀椀挀愀氀氀礀 瘀椀猀椀漀渀愀爀礀⸀ 吀栀攀 瘀椀猀椀漀渀愀爀礀 栀愀猀 戀攀挀漀洀攀 愀 搀攀攀瀀氀礀 甀渀昀愀猀栀椀漀渀愀戀氀攀 洀漀搀攀Ⰰ ഀഀ discredited by having too often been used too carelessly to allow any confrontation with the contingencies of ਍栀甀洀愀渀 攀砀椀猀琀攀渀挀攀⸀ 䈀甀琀 琀栀攀 猀琀愀爀欀 猀瀀攀挀椀昀椀挀椀琀礀 漀昀 䰀甀爀椀攀ᤀ猠 瘀椀猀椀漀渀猀Ⰰ 琀栀攀椀爀 最爀漀甀渀搀椀渀最 椀渀 挀氀漀猀攀 漀戀猀攀爀瘀愀琀椀漀渀 漀昀 琀栀攀 愀挀琀甀愀氀 ഀഀ combined with their wild, individualistic beauty makes a powerful argument for its return into the landfalls of our ਍ 愀爀琀⸀  㰀⼀瀀㸀ഀഀ

Lurie’s vision of joy is believable precisely because it is so rooted in the body. Simply, in The Morphine ਍倀漀攀洀猀㰀⼀攀洀㸀 䰀甀爀椀攀 愀爀最甀攀猀 琀栀愀琀 琀栀攀 戀漀搀礀 眀椀氀氀 搀攀挀愀礀 愀渀搀 搀攀挀氀椀渀攀Ⰰ 戀甀琀 琀栀椀猀 椀猀 渀漀 爀攀愀猀漀渀 琀漀 昀愀椀氀 琀漀 昀椀渀搀 樀漀礀⸀ 吀栀椀猀 椀猀 愀 ഀഀ book which covers enormously painful subject matter and territory; yet through its ferocity--its cri de coeur for a ਍ 爀攀挀漀最渀椀琀椀漀渀 漀昀  戀漀搀礀 愀猀 愀 猀椀琀攀 漀昀 渀攀最漀琀椀愀琀椀漀渀 椀渀Ⰰ 愀爀漀甀渀搀Ⰰ 愀渀搀 琀栀爀漀甀最栀 ☀焀甀漀琀㬀猀椀挀欀渀攀猀猀Ⰰ☀焀甀漀琀㬀 ☀焀甀漀琀㬀栀攀愀氀琀栀☀焀甀漀琀㬀 ഀഀ "abled" and "disabled," and her pointed refusal of the standard hierarchies of "good" ਍愀渀搀 ☀焀甀漀琀㬀戀愀搀☀焀甀漀琀㬀 琀栀愀琀 愀琀琀愀挀栀 琀漀 琀栀攀猀攀 琀攀爀洀猀Ⰰ 䰀甀爀椀攀 猀漀洀攀栀漀眀 愀挀挀漀洀瀀氀椀猀栀攀猀 琀栀攀 洀椀爀愀挀氀攀 漀昀 洀愀欀椀渀最 漀渀攀 昀攀攀氀 漀搀搀氀礀 ഀഀ exhilarated, even heartened for the dark ahead.