inhabited by Charles Darwin and climate scientists, Beethoven and Elliott Smith, the reader finds a way to navigate the beauty and fears native to modern life. One sees in Cheney’s poetry the convergence of the urban and the natural and the ways in which the two inhabit each other—an uneasy coexistence at best, but the only kind possible. Pollination and endangerment loom large in Here Be Monsters, as do the binaries of creation and destruction. A whale dies trapped under a bridge; bees kept in rooftop gardens lose their way; a friend stricken by malaria is taken to an urban hospital that doesn’t recognize the disease; a woman cremates her beloved dog in her pottery kiln and finds, the next morning, two perfect clay lungs among the ashes. In his poems Cheney explores the various types of damage with which humans are so closely entwined, including our encroachment on nature, our propensity to give in to our worst impulses, and the havoc that our cells can wreak on our own bodies.

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