Chroma: Five Centuries of Women Artists

Paperback / ISBN: 978-1-951651-49-7 / Pages: 89 / 2020, Shanti Arts Publishing / $12.95

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Praise for Chroma  


Art in verse

"In her new collection of poetry “Chroma” (Shanti), Sharon Tracey responds to 47 works of art by women artists whose work spans five centuries and 25 countries. In these ekphrastic poems, she is an astute and sensitive reader of paintings. She acts as a sort of visual translator, creating atmosphere and image, making us alert to the relationships at play: viewer with viewed, poet with painting with painter. Her language is fresh and lush. She writes of “paper-flat fields, pearled”; a waterfall is a “lithological myth-maker.” And it’s beautiful to the ear. Listen: “the shapes I love: / ligulate, spikelet, awn. / On the kitchen wall I hang / the sheath and blade.” The collection is broken into four “galleries” which move through time and place, with responses to Agnes Martin and Etel Adnan, and a number of lesser known artists, some of whom are still painting today. And there is wisdom here, too, about the act of not just of looking at a painting, but of looking: “upon entering / a painting: come look, let / something go.” Tracey, who lives in Western Mass, reminds us of the pleasure of pouring oneself into a painting, of what it is to commune with artist, art, and self."

                              —Nina MacLaughlin, Boston Globe, New England Literary News

"Sharon Tracey's ekphrases effortlessly transport you to other worlds and eras, but at the same time, deeper into your self. These poems are dizzy with just the right words. They remind us that the variety and elasticity of language is a profound pleasure… Her curiosity, astute observatory powers, and formidable flare for words make this collection a rare treasure." 

                               —Lorette C. Luzajic, editor, The Ekphrastic Review


“In Chroma, art grows from art—organically, compellingly, and in such a way that the reader sees with a botanist’s eye and a mystic’s sense of revelation. This book draws us backward in time, but also inwards: into the mind of a modern viewer, into the lives of women painters across the centuries, and into their paintings, which are not only creations, but characters, catalysts, windows, worlds.” 

                              —Libby Maxey, editor & poet & author of Kairos, winner of the 2018

                                    New Women's Voices Contest, Finishing Line Press   


“In Chroma, Tracey has achieved a multifaceted dialogue, a meditation, a meeting place created between the artist and the poet, the art and the poem coming to fruition. Chroma examines individual works by women artists merging themes of motherhood, sisterhood, love, work, spirituality, the full spectrum of what it means to be human to be a woman and a creator.”              —Sarah Sousa, poet & author of See the Wolf, named a 2019 "Must Read" book                                      by the Massachusetts Center for the Book


What I Remember Most Is Everything

Paperback / ISBN: 9780692836705 / Pages: 85 / 2017, All Caps Publishing / $10.00


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“What I Remember Most is Everything is a collection of poems, which, like postcards, offer a dip of a painter’s brush, songs of youth, art and memories of San Francisco, of recollection and ekphrasis, a rich banquet of details. There is celebration through those details, some religious, some pastoral, a car crash, a near miss, love and loss, departure and reunion. Throughout the poems, in Sharon Tracey’s deeply visual sensibility, color melds with words as synesthesia.”

                                —Lori Desrosiers, author of three poetry collections from Salmon Press,

                                      two chapbooks, and editor of The Naugatuck River Review


“In the opening poem of What I Remember Most is Everything, the narrator, a young woman of 21, rides westward to California, a modern pioneer. Upon arrival, she exits the liminal space of the bus, which “emits us to time.” the poet employs color as both memory and context, writes of color as a language and as possessing sound and heft, and casts color as transformational…”

                                 —Rebecca Hart Olander, poet, editor, and director of Perugia Press