Reviews

The poet as symbiont

A review of Harry Gilonis's 'Rough Breathing: Selected Poems'

Image of 'Rough Breathing' cover and photo of Harry Gilonis.
Photo of Harry Gilonis courtesy of Carcanet Press.

Reading Rough Breathing, one is quickly struck by the extent to which Harry Gilonis’s poetic praxis is imbricated with antecedent poets and forms. Titles such as “Some Horatian Ingredients,” “Reading Hölderlin on Orkney,” and “Georg Trakl fails to write a Christmas poem” locate the poetry’s provenance in the praxis of reading (or experiencing by different means) the work of others. Gilonis also frequently favors already existing forms — sonnet, haiku, renga, ghazal, acrostic, to name just a handful.

Queer treatments

A review of 'Each Tree Could Hold a Noose or a House’

I first read Ru Puro’s poetry on a cold concrete bench in my hometown, holding in my elbows to leave room for those around me. At the time, Puro’s meditations on the severity and occasional beauty of the manufactured modern landscape seemed to mirror my crowded, colorless surroundings, while their more personal poems echoed my discomfort at taking up space on the bench. 

I first read Ru Puro’s poetry on a cold concrete bench in my hometown, holding in my elbows to leave room for those around me. At the time, Puro’s meditations on the severity and occasional beauty of the manufactured modern landscape seemed to mirror my crowded, colorless surroundings, while their more personal poems echoed my discomfort at taking up space on the bench.

Hers to elegize

Aria Aber's 'Hard Damage'

Photo of Aria Aber by Nadine Aber.

Aber is the child of Afghan refugees who was raised in Germany and educated, in part, in the United States. Her poems in Hard Damage wrestle with the challenge of writing of a place and a political crisis that she neither lived through nor witnessed, but whose presence remains central in her life through traumatized relatives, news of the seemingly perpetual war in Afghanistan, and her own longing for a home where she has never set foot. 

“Not yours to elegize,”[1] instructs a relative in Aria Aber’s debut volume of poems, Hard Damage. However, Aber’s Prairie Schooner Prize–winning book could be read as an attempt to mourn those losses from which the consoling voice seeks to redirect her. Aber is the child of Afghan refugees who was raised in Germany and educated, in part, in the United States.

Life-in-death: an agonizing in-between

A review of 'The Agony of I.B.' by Pierre Joris

Photo of Pierre Joris by Kelly Writers House staff.
Photo of Pierre Joris by Kelly Writers House staff.

We’re all going to die; very few of us will have a death as remarkable — or perhaps as unremarkable — as Ingeborg Bachmann’s. It is against this canvas, the final days of Bachmann’s life as she lay comatose in an Italian hospital, suffering from burns — the result of a fire caused by a wayward cigarette — and the pursuant withdrawal from sedatives, that Pierre Joris sets his play ​The Agony of I.B. (2016)​.

We’re all going to die; very few of us will have a death as remarkable — or perhaps as unremarkable — as Ingeborg Bachmann’s.

Cripping global queer, antiracist, and decolonial coalitions

A review of 'Crip Times' after 'Beauty is a Verb'

McRuer’s book, for instance, in many ways mirrors and departs from Beauty is a Verb: like the anthology, it opens with a historical excavation of policy change and arts-based responses, even overlapping with key figures, such as Petra Kuppers, who appear in Beauty is a Verb. However, it departs from an Americanist context of poetry, opening instead with a European-based history of neoliberal propaganda that he contrasts with emergent arts forms from crip activists.