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About this Book:

Vivian Shipley says...."David Cazden draws us into the world of his poems by immersing us in sensual particulars: bottles are the color of skinned knees, a scar is the color of pork / left on the barbeque and faces in cooking school steam are Renoir-red. What other poet imagines the interior of peach pits, their dark roughness stuck on the tongue? Poems contain a passion for being, for a life lived fully as love for the subjects of his poems darts in and out like a hummingbird. The manager in a convenience store, his mother-in-law sweeping off the stoop, a masseuse who opens his body like a new moon and the woman in poetry class with breasts like two small wrens are all frozen in particular moments that show us how to celebrate human communion, even though it may be rare. By detailing daily life, Cazden creates a scaffolding for dreams that are needed to keep the spirit alive. These poems ultimately show that love and its power can redeem, that what will endure is the force within the human heart. "

About the Author:

David Cazden was born as a US citizen in Vienna, Austria in 1958. By the time he was 21 he had already been writing for a number of years and had published in a handful of magazines. At 22, he obtained a degree in electrical engineering from the University of Kentucky. David then took an unexpected 20 year hiatus from poetry, during which he founded and ran a computer manufacturing and retail business, Datalex, Inc. David went back to writing, beginning all over again, in June, 2000. Now, when he isn't editing miller's pond or writing, David works with digital photography. Often, David simply plays chess, hangs out at a local coffee shop, and walks his dog with his wife, Laura, near their home in Lexington, Kentucky.

Book Review:

This intriguing collection is a mix of creative imagery, flavor, innuendo and passion; linking what is human to the natural world . . . "the syllables like a waterfall / tumble in the foliage . . ." Ordinary events take on a life-affirming quality, whether the happening be gardening, cooking school or a writer's conference. The use of imagery allows us to "feel" the poems. In SUNSTROKE, "and I held your head/ as if it were a huge blossom." We are given a glimpse into the heart of the poet through these poems, and we are reluctant to let him go. -Beatrice O'Brien, Poet's Theatre

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