Kenna O’Rourke takes another look at three 2018 poetry titles: Clap for Me That’s Not Me by Paola Capó-García, Baby, I Don’t Care by Chelsey Minnis, and Don’t Let Them See Me Like This by Jasmine Gibson.
Kenna O’Rourke takes another look at three 2018 poetry titles.
“I am a Futurist,” writes Joyelle McSweeney, describing the strange historical allegiances of her work: “But I am a Futurist of 1909 rather than a Futurist who believes or anticipates a Future as envisioned by, say, TED talk panelists or believers in the progressive motion of literature as a reinforcement of political/capitalist bona fides.” Above: ‘The City Rises,’ an early Futurist work by Umberto Boccioni, 1910.
As declarations of avant-garde intent go, McSweeney’s is deliciously paradoxical: an anachronistic investment in a movement that militated against anachronism, that made war on the past and its pious preservation.
“I am a Futurist,” writes Joyelle McSweeney, describing the strange historical allegiances of her work: “But I am a Futurist of 1909 rather than a Futurist who believes or anticipates a Future as envisioned by, say, TED talk panelists or believers in the progressive motion of literature as a reinforcement of political/capitalist bona fides.”[1] As declarations of avant-garde intent go, McSweeney’s is deliciously paradoxical: an anachronistic investment in a movement that militated against anachronism, that made war on the past and its pious preservation.
Clap, baby: like this
Kenna O'Rourke
Kenna O’Rourke takes another look at three 2018 poetry titles: Clap for Me That’s Not Me by Paola Capó-García, Baby, I Don’t Care by Chelsey Minnis, and Don’t Let Them See Me Like This by Jasmine Gibson.
Kenna O’Rourke takes another look at three 2018 poetry titles.