The Broken Bone Tongue
Black Buzzard Press
Austin, TX 2009
ISBN: 978-0-938872-42-9Tongue unbroken
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The Broken Bone Tongue
Dianna MacKinnon Henning

By This article was published on .

Photo Cover by Jody Wright

Local poet Dianna MacKinnon Henning’s second book, The Broken Bone Tongue, finds articulate and lush language in the natural world, where everyday encounters—whether with deer in the forest or potatoes in the kitchen—open up avenues for exploration of grief, loss, discovery, solitude. The title poem kicks off a series of poems about bones and tongues, leading to the moment of awareness in “For the God of All Bones”: “your breath backed up / because you never realized / how going after one thing / brought about something entirely different.” This element of surprised discovery holds true for even the most mundane things, as that staple food of working people becomes an open door to art in “The Holiness of Potatoes”: “Even the earth-worm knows the richness / of tubers cloaked in their drab burqas, / how all things wrap into something for comfort.” The Broken Bone Tongue can be ordered through Visions International, Austin Texas.


Book Review: The Broken Bone Tongue by Dianna Henning

Dianna Henning’s title poem begins with these words: There were things she could say/and things she couldn’t say . . . . Her new book, The Broken Bone Tongue, contains the things Henning can and does say with an eloquent honesty. Her theme of bones ripples through the pages with an expert’s observation, like her butcher’s cleaver, her intentions exact.

Bones are an appropriate theme for Henning’s collection; she takes the meat off of relationships, leaves the reader with the bare and sparse feel of bones left in the desert, bleached of all pretension. From the butcher’s apprentice “wiping his bloodied hands across his white cotton apron,” to shaking hands with her own tongue, we are asked to intimately share Henning’s unique view of the world she inhabits.

Henning offers us other images, of animals and man, but her poems featuring bones, the ones where she tells her deepest truths, where she uncovers the tenderness and temporality of the body, are the ones we will return to for comfort, for understanding. We are haunted especially by the poem “Instructions for Cleaning the Aphrodisiac Bone,” a short two-stanza poem we have previously published in Tiger’s Eye, consisting of a rare and fragile beauty. We reprint the entire last stanza here, as one line is not enough to exhibit the delicacy of Henning’s imagery.

Place your mouth flush to the bone’s hollow center,
call out the creature it was in real life,
its ghost reminiscent of a god.
Notice how it stares at you, as though all bodies
began as eyes, form following sight.

We recommend this book to our readers, and hope you will experience the same sense of wonder we have whenever reading Dianna Henning’s work.

Colette & JoAn, Editors
Tiger’s Eye: A Journal of Poetry


BLURBS by other writers for The Broken Bone Tongue

“In the tradition of Robert Bly’s “leaping poetry”, Dianna Henning’s work leaps. Takes chances, yet is grounded in a story-like quality that draws the reader in. From her early surreal driven poems, her work has, over the years, matured into the poetry of particulars. “Camouflage may be the angel’s art” according to Henning, but it is also the poet’s art. To hide images and ideas well enough to bring them to life. Dianna Henning does that as well as anyone.”

-Thomas Rain Crowe, Editor of Writing the Wind: The New Celtic Poetry, Poet & Publisher of New Native Press

“The inventive poems of Dianna Henning are full of lovely and startling convergences. In this rich collection the reader finds playfulness and sexuality, tenderness and loss. Both provocative and humbling, these poems represent an artist with an enormous heart and a fine, riveted eye.”

-Joelle Fraser author of The Territory of Men, A Memoir

“In coming to Dianna Henning’s poems, the reader is continually surprised—everything is alive, has a significant presence, and resonates beyond the page. In Henning’s poetic universe, all things and beings are conjoined; one poem begins, “There was the deer I wanted to be and the deer I couldn’t be.” What Henning reveals in the most persuasive of these poems are the truths that arise through our attempts and abilities to connect with all that surrounds us. Our participation in these poems as readers frequently becomes a redemptive experience.” -Marilyn Jurich author of Defying the Eye Chart

The Tenderness House
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This article was published on .

The Tenderness House
Dianna Henning
Poet’s Corner Press
Stockton, CA 2004
ISBN# 0-9755972-0-5

The lifeblood of poetry has always been the small press, and the Sacramento area is lucky enough to have a boatload of these little gems. One of the most prolific is the Stockton-based Poet’s Corner Press, run by David Humphreys and a group of his fellow poets. The latest book from Poet’s Corner is The Tenderness House by Dianna Henning.

Henning has a very elegiac quality to her writing: death, crows, grief and longing. That probably could be said of most poetry, but in this case, there’s also a very subtle sense of self-ironizing awareness. For example, in “Jump-Off Joe Creek,” which examines the story behind the oddly named Oregon stream, Henning takes an inward turn: “but finally, / like Joe on the bridge, you must select / one life and hold it like flint underneath your tongue, / something made in the shape of an arrow.”


Red Rock Review • 137

Richly Woven Lament: A Review of Dianna Henning’s The Tenderness House

By Rich Logsdon

Dianna Henning. The Tenderness House. Stockton, CA: Poets’ Corner Press, 2004.

A Review Excerpt by Rich Logsdon:, Editor for The Red Rock Review

The Tenderness House, a recently published collection of poems by Dianna Henning, reveals a life passionately yet tenderly embraced by a poet who integrates a keen apprehension of life’s beauty, expressed in rich imagery and subtle puns, with an almost painful awareness of the brevity of existence. Indeed, the joyful tenderness contained in so many of these poems is tempered by a melancholy that, in this critic’s mind, moves this collection to the level of a richly woven lament. It is upon this level that Henning’s poetry can be most fully appreciated, for almost every line in The Tenderness House is tempered by a sadness borne of the conviction that life is a glorious though fleeting essence that can most expertly be captured in art.

One of Henning’s pieces that most eloquently captures this aesthetic is “Bottle Blessers”:

An early winter breeze sweeps leaves into chaos. I think of the bottle blessers, Seventeenth Century settlers, who dried herbs, and poured laurel, mint, tarragon, into a pleasing arrangement, then capped, and tied lavender strands about the bottle’s neck, their gift blessings for neighbors. Earlier, I’d tromped over duff for sage, Scotch-broom, bitterbrush, and tiny shoots I’d snipped at their base. As I poked stem, small branches of manzanita into twig form, wove them in and out so the wind wouldn’t unravel their fragile hold, darkening skies spoke of snow. Whatever the weather will hurl onto the porch my wreath will know, and I, warm inside my home will know it too as harsh winds knock.

This is a splendid poem, laced with subtle rhymes and alliteration and packed with vivid images, that demands that it be read on the literal and symbolic levels. And once the reader makes the metaphorical leap, the truth emerges: offered as blessings to the reader, Henning’s poems delicately interweave with each other and form a fragile barrier against the harsh winds that threaten to rob us of our memories of life’s most wonderful moments…

BLURB for The Tenderness House by Ioanna Veronika Warwick

“To me, Dianna Henning is, above all, the Luminous Poet of What’s Near. ‘Only ripe memory of falling apples endures–the way we once bit into each other,’ she writes, revealing her appetite for tasting life to its fullest. Whether it’s the stones in her Japanese fountain or the birds decorating a dinnerware set, everything becomes alive in Henning’s powerful, image-driven poems. She en-souls the world, a sacred task that has always been the liturgy of anything we dare call poetry.”–Ioanna (“Ivy”) Warwick, poet and poetry teacher published in Poetry, Best American Poetry 1992, Ploughshares,The Iowa Review, etc.

A Response to The Broken Bone Tongue

September 24, 2010 at 3:27 pm

“The Broken Bone Tongue” is powerful, complete food for the soul.”
by Val Rhodes, Australia

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