A high-lyric historian of the human project, Laura Cresté fixes her scrupulous gaze on the interwoven threads of this distressed anthropocene era, taking in the whole cloth of our globalized societies while recording the singular details of our individual lives and most intimate relationships—their intricate embroidery, characterizing stains, and fraying hems. In the Good Years confronts a painful family legacy, returning to the violent artistic censorship of Argentina's military dictatorship, her relatives' survival of a Dirty War death camp, and the scattered paths of their migration to safer ground. In reconstructing the past, Cresté resists the individualistic contraction of the coming of age model, not merely solidifying the psychological actualization of a single person as they enter adulthood but discursively expanding the notion of self, discovering the boundaries of identity as they overlay the seams of the broader world. These poems exist because of a narrowly avoided fate, and they bristle with the wild energy of improbable existence even as they touch on seemingly unrelated and often ordinary things: a roast chicken recipe, an aunt's questionable romantic advice, flea-ridden dogs, high school parties, waitressing at a dive bar, drowned newts in the swimming pool, unruly tomato plants, horseback riding. "Once saddled across a mare / named Ramona, I was afraid of the burden of my body," Cresté writes, fearful "that she would buckle—an animal once ridden into war." The sheer brilliance of this book's poetics manifest in lines like these, which bring political, personal, and ecological considerations to bear on the concept of weight in the space of a single sentence. What is the heft of a life that was nearly disappeared? How does a number become a weapon to enforce the gendered economy graphing desirability against power? What is the size of our footprint on this planet, and how heavy must our presence currently be as the animals and the land reach their breaking point? How much do you weigh? How much weight can you carry? "I was a teenager and jealous of the freedom / I imagined belonged to the thin," Cresté admits. "Now I know no one feels free, // not even the creature who devoured / the countryside, ravenous for the time / we were allowed in the field." This stunning debut champions that ravening, relishes the external and internal wilderness of the surrounding environment and our own human nature, and honors appetite as an opportunity to savor each bite for as long as we get to sit at the table. Throughout, these poems keenly subvert experience and memory, asking how we will remember this moment, and if the blessing of being here means we are somehow, even now in all the present's suffering, living in the good years.
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