• Chants of Indictment
• Patricia Laurence (bio)

Katherine Hollander is both a poet and historian and this twinning shines through in her first collection of poems, My German Dictionary. In this volume that won the 2019 Anthony Hecht prize, she wears a "good travelling coat" and invites us to travel and dream back and forth in English and German with her. She begins,

I couldn't be a good Jew, so I triedTo be a good historian. I couldn't beA good historian, so I wrote poems.

Her poems hover over a historical landscape—the Great War, the Somme, World War II, Shoah, and Weimar Berlin, and are intertwined with an internal landscape of memory, loss, death and hope. The "travelling coat," she tells you, had

… a fat gold tassel at the shoulderPull on it, and from the wide sleeve a littlecedar ladder nudges out, ready to take you away.

And climbing down that ladder you are taken away to places that exist on maps—"Germany is green and Russia is pink and gold" as well as to spots of memory, feeling and history that ripple with a disquiet beneath. These are poems of conviction and bravery. In "Answers to the Question in Europe" in the first section of poems, we are presented with a narrator, "I," who is made of patches of Europe, "My mother was a Polish Catholic. / My father was a Russian Jew. … When I was sixteen, I was sent away / to the south of France." She travels, sleeps, dreams through the creation and destruction of nations, and is anointed by a poet in the poem to be a living voice and to "write a letter home." She does this throughout the collection and re-imagines the terrors of history in Europe.

IV.I slept under a blanket of nations… At the foot of the bed, a ladywas sewing. How the borders achedwhere her needle pierced them!

Disquiet enters,

After a while, I couldn't sleep. The patchworkwas coming apart, letting in the coldFrom the wide-open window…Tiny eagles and airplanes

Circled the airspace over my head.

VI.I met a man in a café…He said I am every poetslaughtered, every revolutionary starved.… Now you are marked with my own seal,and every wordyou write will be a letter home…to my heart like a white valentine, my sister.

Throughout the collection, she welds together an outer and inner landscape that has actual geography and history as well as a transcendental reality. In the moving poem, "Sophie and Escha, 1929," two sisters living in Berlin after the Great War lead quiet working lives. Hollander beautifully captures their appearance as they emerge from a certain cultural period: "They both wear black dresses and white / dickeys. They each have a pair of maryjanes the color of black / cherries, with a mother-of-pearl button on the strap /… They are both partial to the / feuilletons [part of newspaper devoted to literature] of Joseph Roth and the cartoons of Georg Grosz. Käthe / Kollowitz makes them cry." But history sits at their table where they take opposite sides and have great arguments, Esche reads Der Jude. Sophie reads Das Tagebuch. Yet tenderly, Hollander, brings the sisters together—their brother after all having died in the Great War—and in the end they link arms and go out to the movies or zoo or theater in Weimar. But the sorrows of war, the Great War, continue and are highlighted, as Hollander recounts how the young men going off are "anointed,"

… sleep nowin one another's arms in the damp trenchesdrugged with death.…And the dead come in, dragging their nextwar behind them.

This is the theme of Section II that amplifies the futility of death in war, and the first poem, "War Suite" strikes a personal note with its dedication, "to my brother." The image of the brother, personal or historical, continues to surface. The narrator questions "Shouldn't we have families too," and...

• 起诉书的呼声
• 帕特里夏·劳伦斯（生物）

凯瑟琳·霍兰德（Katherine Hollander）既是诗人又是历史学家，这种孪生关系在她的第一本诗集《我的德语词典》中得到了体现。在获得2019年安东尼·赫希特（Anthony Hecht）大奖的那一册中，她穿着“好旅行的外套”，并邀请我们和她一起用英语和德语来回旅行和做梦。她开始

我不能成为一个好的犹太人，所以我试图成为一个好的历史学家。我不可能成为一位优秀的历史学家，所以我写了诗。

她的诗悬停在历史大地上，如大战，索姆河，第二次世界大战，沙阿和魏玛·柏林，并与记忆，损失，死亡和希望的内部景观交织在一起。她告诉你，“旅行外套”有

……肩膀上有一条金色的流苏。拉紧它，从宽袖子中抽出一个小的雪松梯子，随时可以把你带走。

沿着那条阶梯爬下，您将被带到地图上现有的地方-“德国是绿色，俄罗斯是粉红色和金色”，以及记忆，感觉和历史的斑点，它们在下面隐隐约约地荡漾着。这些是坚定和勇敢的诗。在诗歌第一部分的“欧洲问题的答案”中，我们看到一个由欧洲小伙子组成的叙述者“我”，“我的母亲是波兰天主教徒。/我的父亲是俄罗斯犹太人。 ……当我十六岁的时候，我被送往法国南部。” 她在国家的建立和毁灭中旅行，睡觉，梦想，并被诗中的诗人膏抹为活泼的声音并“写一封信回家”。她在整个收藏中都做到这一点，并重新想象了欧洲的历史恐怖。

IV。我睡在民族毯子下……在床脚下，一位女士在缝制衣服。边界如何在针刺入的地方疼痛！

忧虑进入

过了一会儿，我无法入睡。该错落有致是分开的意思，让在寒风从敞开的窗口...微小的鹰和飞机

在我头上盘旋领空。

六。我在一家咖啡馆遇见了一个男人……他说我被每一个诗人都杀了，每一个革命家都挨饿了。......现在，你都标有我自己的印章，和每一个字你写将一封家书......我的心脏像一个白色的情人节，我的妹妹。

在整个系列中，她将外部和内部景观融合在一起，既具有实际的地理和历史，又具有超然的现实。在感人的诗歌《索菲和埃夏，1929年》中，一战后住在柏林的两个姐妹过着安静的工作生活。霍兰德在某种文化时期出现时，很漂亮地捕捉了它们的外观：“他们俩都穿着黑色连衣裙和白色/迪克丝。它们每个都带有一对黑色/樱桃色的玛丽·玛丽亚，在表带上带有珍珠母钮扣/…他们俩都是约瑟夫·罗斯（Joseph Roth）和格奥尔格·格罗斯（Georg Grosz）的漫画的[feuilletons]（报纸的一部分，专门报道文学）。卡特（Käthe）/柯洛维兹（Kollowitz）使他们哭泣。埃舍读到《裘德》，但历史坐在他们的桌子旁，他们在对立面有很多争论。达斯·塔格布赫（Das Tagebuch）。然而，温柔的是，霍兰德将姐妹们召集在一起-他们的兄弟毕竟是在一次大战中丧生的-最终他们将武器连接起来，然后去了魏玛的电影，动物园或剧院。但是，战争的痛苦，即一战，仍在继续，并被凸显出来，因为霍兰德（Hollander）讲述了年轻人如何“受膏”。

……现在在充满死亡药的潮湿战sleep中，彼此怀抱。……死者进来，将他们的下一场战争拖到他们身后。

这是第二节的主题，它放大了战争中死亡的徒劳性，而第一首诗《战争套件》则以“献给我的兄弟”为主题，引起了人们的关注。兄弟的形象，无论是个人的还是历史的，都继续浮出水面。叙述者问“我们也不要有家庭”，然后...