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註釋What makes Melissa Atkinson Mercer's ghost exhibit a singular assemblage is the way time wrestles with place, voice, and image. Here, Mercer avalanches a modern Spoon River Anthology, wherein memory tries to reconcile with the ghosts of one's hometown, the scars our families tender us, how racism produces a distorted version of what the world can be. Momentum and precision create some of the most stunning moments in this chapbook: "the nest of deer whispers to itself like a lost city"; "the same girl inside a rabbit's lucky foot inside a coffin in the church between my bones"; "sick as a wolf in the last cave of dawn." ghost exhibit transforms us with incantation, reassertion, command. One feels as though Mercer is performing an excavation, an exhumation, after "the metaphor inside the metaphor," where one locates "which monster consumes the other." The spectral tribunal requests the evidence. Mercer's poetry is after justice.- Roy Guzmán, author of Restored Mural for Orlando