In her vital, elegiac poems, Deborah Gorlin inventories her dead in urgent acts of recognition and commemoration. Family membersboth nuclear and extendedappear in their native stories to reanimate local histories, intimate geographies, and lost times. In a different series of personae poems, Gorlin catalogues dolls and totems within their particular cultural habitats, which range from Africa to the Andes, and imagines their daemonic hopes, dreams and emotions. In a final act of inclusion, she takes stock of her own spiritual hesitations, yearnings, approximations, and explorations of such crazy topics as fingernails, Hebraic trees, and fat.