'Go On' by Ethel Rackin
Jueds: “[T]he emptiness you seek also takes time,”[1] the speaker of Ethel Rackin’s strange, magical, and luminous second book tells us at the end of the title poem. The poems in Go On are mostly small — the briefest a single line — and yet they do take time, deep, mysterious, and wide-ranging as they are, to truly enter: they are enormous within their brevity. And, following from Rackin’s Buddhist sensibility, the poems do seek some sort of “emptiness,” which could also be defined as spirit or holiness or divinity. Rooted in the tactile and quotidian, they leap from their contemplation of birds, trees, and tract houses to the deep interior world of the speaker which, at the same time, reaches through and beyond to an enormous otherness.
Jueds: “[T]he emptiness you seek also takes time,”[1] the speaker of Ethel Rackin’s strange, magical, and luminous second book tells us at the end of the title poem. The poems in Go On are mostly small — the briefest a single line — and yet they do take time, deep, mysterious, and wide-ranging as they are, to truly enter: they are enormous within their brevity. And, following from Rackin’s Buddhist sensibility, the poems do seek some sort of “emptiness,” which could also be defined as spirit or holiness or divinity.
Recipients of the Pew Fellowships (For Philadelphia-area artists)
I am pleased to see that among the 2014 recipients of Pew Fellowships are:
Laynie Browne
Browne explores and reinvents various poetic forms, including sonnets (Daily Sonnets, Counterpath, 2007) tales (The Scented Fox, Wave Books, 2007), and letters (The Desires of Letters, Counterpath, 2010).
Thomas Devaney
A native Philadelphian and author of the newly released Calamity Jane (Furniture Press, 2014), Devaney takes inspiration from music and visual art, writing for the ear as well as the eye.
J.C. Todd
Todd’s work complicates and contemporizes the longstanding tradition of war poetry, and investigates how war permeates human life and language.