The blurbs for Peter Davis's forthcoming book Poetry! Poetry! Poetry! are rolling in.
Mairead Byrne says "Passing Professor Davis's office door yesterday--Professor Davis’s closed office door--I found myself wishing he was on a Fulbright like before, not a MacArthur, so that he would be back among us sooner, casting his brilliant (and humane) light. Because how is our intellectually restless little ivied community to survive without him? This book will help. From a time when he was young, full of hope, teaching in Muncie, it looks us straight in the eye, inviting us to identify with this nubile and insouciant David--before he became the giant that is Peter Davis."
Check the others (by Kenneth Goldsmith & Daniel Nester, with more on the way) out on Peter's new PPP-related blog here. We expect to have copies in time for AWP.
Becca Klaver reviews Warsaw Bikini in the latest edition of h_ngm_n:
"Simonds’ poems are rocket-speed soliloquies. They’re the opposite of Wordsworth’s 'emotion recollected in tranquility': instead, they are acts projected out of anxiety, revealing the artistic propulsion of that psychic state—the prismatic, sometimes madcap voices and visions waiting where its arrow touches down.
If the turns of Warsaw Bikini’s diction and imagery dazzle as consistently as the book’s title leads you to believe they will (and they will!), there might be some room for the forms to better direct their glint. Many poems consist of dense, imagistic leap-laden stanzas snaking thickly down the page ('A System of Sufficient Complexity,' 'The Truth About the Pills I Took,' 'The America You Learn From'), but I tend to prefer the ones that use shorter lines and more white space, the ones that visually alert their leaps, deftly place their puns, and provide a defined, if rugged, structural landscape for the speaker to climb up or ski down (e.g., 'You Should Put a Neighborhood on That,' 'I Am Small,' and 'Tomorrow’s Bright Bracelets')."
Read the rest here.
Anne Boyer on Warsaw Bikini: "Sandra is a fellow-traveler to some celestial organization, a down low ideologue for the heavens, as if an aesthete were mistaken for an astronaut and given, as a costume, scuba equipment, and given, as reading material, Das Kapital." Read the rest here.
Sandra's chapbook Used White Wife (Grey Book Press) makes Nate Logan's Best of 2009 list at No Tells.
And she's got a new poem up at The New Post-Literate: A Gallery of Asemic Writing.
Carrie Lorig reviews My Zorba for Lesser of Two Equals:
"Some poets take language out for a long, leisurely lunch and a stroll. Danielle Pafunda drags language out of bed in the middle of the night and takes it on a desperate mission through the war-torn house of the body.
Mirrors explode and shattered glass rains down on the mostly female narrator of Pafunda’s book, My Zorba, as she fights with an imaginary, mostly male character named Zorba. 'I could only think in small pieces!/I could not speak in first person! The copper wire/strung!/From my armpit, a personality exam, a pelvic diatribe' (In the Museum of Your Two Halves). Confusion, urgency, shape-shifting, and struggle maims every poem in My Zorba, producing language that is fragmented and mysterious, that jolts and halts like an ancient amusement park ride. It is as terrifying and difficult as it is beautiful; a drunk horror story covered in glitter."
Read more here.
And watch for Danielle's appearance on the Delirious Hem 2009 Adventskalendar on the 21st.
Jennifer L. Knox's poem "Why We Came and Why We Stayed" from A Gringo Like Me appears in The Lineup an annual chapbook of poems from Poetic Justice Press. Mystery Scene Magazine reviews the collection in their latest issue:
"Hardly representing the 'roses are red' school of poetry, these 20 poems smash into the dark heart of murder like a bullet into bone. Especially effective is Jennifer L. Knox's 'Why We Came and Why We Stayed,' which reveals a 'White-gloved, big-boned, wide-eyed wife.'
More info here.
Jen gets a nod from Mark Bibbins in this interivew with Bomb Magazine: "The person wearing the sweater in a Currin painting might also be naked from the waist down, which will always make someone uncomfortable, so he’s a good artist to invoke. John Waters and Gabriel Gudding and Jennifer Knox and Eileen Myles and Andy Warhol are others. Taste needn’t be merely 'good.' Solemn reverence is the default 'good taste' mode, and such poems look like parody to me at this point. On the other hand, if snark is your default and you don’t somehow tweak or transform it, that’s just as dull." Read the rest of the interview (and info on Mark's new book, The Dance of No Hard Feelings) here.
And she's got a new poem in InDigest and three more (including one from Drunk by Noon in The Awl. Don't miss 'em.
Anne Boyer on For Girls (& Others):
"Appropriation is always a slant authorship, aggravating to those who want to believe a poem is something with which we can disagree. This technique always has exactly a feminist cunning, and always a feminist heritage (the Baronness, Acker). We steal shit. It's not okay. It is sideways and deflecting and done with our under-hand out. [...] So Shanna Compton in For Girls & Others, steals shit, specifically from an old-fashioned instruction manual For Girls, also a little from that great heaving machine of cruel instruction, The Internet. To steal words to screw them up and then to self-publish them is for a girl (subjected to cruel instruction) like doing everything you were instructed against. This is a book made from elegant defiance. Compton means almost nothing of what she steals and says, not directly. She does not want us or our girl-offspring, to remain "soft / pink / forlorn."
Shanna also reads a poem for day 13 of the Delirious Hem 2009 Adventskalendar, curated by Susana Gardner of Dusie. Direct link.
Read the rest here.