“Among the Crags of the Eyrie” by Daniel Shapiro

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Daniel Shapiro’s Among the Crags of the Eyrie encapsulates the remarkable precision, thematic depth, and transformative power that have come to define his poetic oeuvre. In his new book, Shapiro constructs his poems with a meticulousness that Barry Wallenstein aptly describes as “authority, unaffected confidence, and surprising humor.” The collection, divided into four sections, explores themes ranging from family and relationships to art and personal renewal. As noted by Anthony Seidman, it is a “map and a treasure-chest” containing confessional works, whimsical elegies, and ekphrastic meditations on artists like Rodin and Modigliani.

Daniel Shapiro’s “This Poem” is a reflective meditation on the limitations and enduring potential of poetry. The poem opens with a litany of things it cannot do—provide protection, summon joy, or create tangible change—grounding the reader in the stark reality of poetry’s immaterial nature. Yet, Shapiro deftly pivots, shifting the focus from what poetry lacks to what it can preserve: a fleeting trace of presence, the essence of experience, and the marks of a life lived. The imagery, such as “burnished skin tipped with gossamer wings” and “the grit and odor of your days,” is evocative and deeply personal, revealing the quiet power of words to capture intangible moments.

The second stanza transforms the poem into an artifact of memory, emphasizing the intimate connection between writer, reader, and time. The act of tracing the words becomes a metaphor for rediscovery, where the reader uncovers fragments of the poet’s existence—what they saw, felt, and created. By highlighting the poem’s ability to encode music, sketches, and emotions, Shapiro redefines its purpose: not as a force for immediate change, but as a vessel for preservation and resonance. In this way, “This Poem” becomes a quiet celebration of art’s enduring legacy, revealing how even the ephemeral act of writing can transcend time and leave an indelible mark.

One of the pieces that were actually published in Literal Magazine opens with a striking description of an ostrich’s anatomy:

Twin drumsticks
tapering down
to two-toed
feet arched tense
on the ground…

“The Ostrich” exemplifies Shapiro’s ability to weave together strands of confessional poetry, offering a poignant meditation on displacement, resilience, and the intricate connections between humanity and the natural world. It takes readers on a vivid journey through history, emotion, and the complexity of existence.This playful yet precise imagery reflects Shapiro’s mastery of form and music, qualities that underpin the entire collection. The comparison of the ostrich’s legs to “an athlete’s thighs” or “Betty Grable’s gams” injects humor while emphasizing the bird’s physicality. Shapiro’s keen observational eye invites readers to marvel at the ostrich’s unique physiology, grounding the poem in a sense of wonder.

As the poem progresses, Shapiro transitions seamlessly from whimsy to historical reflection. The narrative shifts to 1922 Pasadena, where ostriches were exploited for amusement and profit at Cawston’s Ostrich Farm:

Strapped to a harness
binding her breast, about to pull
two ladies in dresses,
belled white, pretty as you please…

This passage highlights humanity’s tendency to commodify and dominate the natural world, a theme Shapiro explores with both empathy and nuance. The image of the ostrich pulling a cart contrasts sharply with its innate majesty, evoking a profound sense of loss.

The poem’s third section delves into the ostrich’s journey from Namibia to the United States, a harrowing migration that mirrors the displacement experienced by countless beings, human and animal alike:

dumped into the hold
like so much cargo,
bolt thrown down
to cut off their lowing…

Here, Shapiro’s work resonates with the confessional poems in Among the Crags of the Eyrie , such as those exploring the aftermath of a fire. Both the ostrich and the fire become symbols of destruction and renewal, their stories reflecting the capacity for resilience amid adversity.

The poem’s conclusion offers a moment of defiance and transcendence. The ostrich, reduced to a spectacle, locks eyes with a young boy and emits a piercing squawk, reclaiming its agency:

a sudden
squawk like the laughter of a duck…
as if to teach him,
teach him something
he’ll remember all his days.

This gesture mirrors the transcendent quality present in the title poem of Shapiro’s collection, which seeks to “ascend and descend, the way eagles do from their eyries, but also transcend.” The ostrich, a flightless bird, nevertheless finds a way to rise above its circumstances, embodying the enduring power of spirit.

As Doug Holder noted of his earlier work, Shapiro’s poetry “encapsulates the universe itself,” offering both pleasure and profound insight. This is evident in the poems´ interplay between the personal—reflected in its intimate, tactile descriptions—and the historical, as seen in its meditation on the ostrich’s forced migration and commodification. In the context of Shapiro’s broader work, *The Ostrich* is a testament to his evolution as a poet and his commitment to exploring the intersections of history, nature, and personal experience. As Wallenstein notes, Shapiro’s poetry is marked by “authority” and “lively observation,” qualities that shine through in this masterful ode.

Beyond its thematic richness, the collection of poems showcases Shapiro’s flair for ekphrastic verse, a hallmark of his career. The book celebrate art’s transformative power, reflecting on works by Tiffany and Fabergé, or meditating on subjects as diverse as eggs and distant relatives. This diversity underscores Shapiro’s ability to find beauty and meaning in both the ordinary and the extraordinary. As Seidman aptly observes, Shapiro’s poetry is “crafted to perfection, jewels to glisten in the gloom.” This is particularly true of the pieces shown above, where every detail is rendered with meticulous care.

Shapiro’s new collection is a powerful example of the precision and empathy that define his work. Whether reflecting on the plight of a flightless bird or celebrating the resilience of life itself, the book captures the essence of Shapiro’s poetic voice that has always been attuned to the world’s complexities.  As Seidman  summarizes it “reveals how there are openings and doors everywhere when we are summoned to the garden of stone.”

Rose Mary Salum is founding editor of the bilingual literary magazine Literal: Latin American Voices and Literal Publishing.  She´s the author of 9 titles that  have been translated to English, Italian, Bulgarian & Portuguese.  Her awards and recognitions include Author of the Year 2008 for the Hispanic Book Festival; four Lone Star Awards; 2 Council of Editors of Learned Journals Awards; St. Thomas University’s Classical Award; a recognition from the U.S. Congress; three nominations for PEN America’s Nora Magid Award; the Ana María Matute in 2008, and the Maggie Award in 2005. She is a member of the Academia Norteamericana de la Lengua.

Posted: March 11, 2025 at 7:40 am