Climbing earth

The spiritual materials of Hank Lazer and giovanni singleton

Hank Lazer’s most recent collection, N18 (complete), and giovanni singleton’s first collection of poetry, Ascension, deploy similar formal strategies to remind us of an old truth: the bone of spirit means just that, the inseparability of the spiritual from the material. Lazer uses handwritten shapewriting as a kind of “first tool” to meditate on song, knowledge, and being in relation to the quest for transcendence embodied in his ongoing projects. singleton frames her more normative meditative lyricism with shapewritten (non-standard) typographical differences.

Beauty is useless

A review of Noel Black's 'Uselysses'

In the Proverbs of Hell, William Blake stated that “Exuberance is Beauty.” In Uselysses, poet Noel Black unravels each word in Blake’s proverb: the beauty, the exuberance, and especially the is. In this unraveling, Black’s poems find nothing too sacred or too mundane. Here, exuberance and beauty are abundant givens (take titles like “Ballad of the Homeopathic Pony” and “Huckleberry Finnegan’s Wake”), but it’s the poet’s subtle inquiry into being — the ontological ground we’re standing on — that drives these poems, and their reader, forward into new terrain.

Reading 'Iovis' in Bolinas

A review of Anne Waldman's ‘The Iovis Trilogy’

In Bolinas, California, on a sunny late spring afternoon, four of us are sitting at a small round table set for tea. The table setting is unquestionably Joanne Kyger’s: woven bamboo mats trimmed smartly in black, small dishes of nuts, seeds, and cookies, a cheese board with a local cambozola, crackers, fruit, a small tray of spicy dried seaweed, delicate china plates and silverware tipped with arabesque, and everyone with their drink — some with chamomile tea in small jade-green cups, sparkling water in translucent blue glasses, white wine in stemware — around a centerpiece of pale purple Hydrangea and a few sprigs with tiny white flowers all fringed in broad, sphere-shaped leaves. We are passing around The Iovis Trilogy, because Joanne — who is always pulling book after book off a shelf or from a small table nearby and putting them into your hands one after the other, so that you place one book on the table to empty your hands to receive another book until the table is full of small heaps of books and in need of clearing — insists that one can not read Iovis alone, that it’s meant to be read aloud: “for it was her song, & / she always wanted to sing it / moving as she did among his waves” (213).

Devisable matter and sheer overjoy

A review of Peter Richards's 'Helsinki'

Even though I might try to define Helsinki in Peter Richards’s latest collection of the same name, I don’t think it would be all that constructive an endeavor. It is, however, important to note that location is integral in that it is a reoccurring motif as well as the gesture of the book’s title. But when I say location, I hesitate to affirm the specificity that the wordimplies; rather, the locative forces that energize Helsinki do more to strip the idea of location of its specificity, transforming the lyric into a mode that sustains placelessness, a medium through which lush imagery and skewed perspective enact a state of being instead of a particular setting.

The poetry that populates Helsinki’s five sections does not have titles, only three addition symbols at the top of each page occupying the spaces where titles might go.

Literature's nuisance: (Riding) Jackson's memoir

A review of 'The Person I Am: The Literary Memoirs of Laura (Riding) Jackson'

Rarely do authors talk back to the literary apparatus — criticism, reviews, biographies —that builds up around their work. In the two-volume collection of Laura (Riding) Jackson’s “literary memoirs,” (Riding) Jackson does just that, while also providing new insights into her theories on literature, ethics, and the topic of memoir itself. As (Riding) Jackson wrote in 1984, she faced “a stream of published erroneous representations of myself, my thought, my writings” (2:229).