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Romance or the End: Poems
Ebook Herunterladen Romance or the End: Poems
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Pressestimmen
Praise for Elaine Kahn "Elaine Kahn's poems touch me somewhere deep. I don't know how or why, but I'm willing to go wherever she wants to take me."--Kim Gordon "Elaine Kahn shoots from the groin, championing a ferociousness that rages against asperity while playfully seducing the reader to misbehave. Hers is a realm where oceans beat against genitals, and Hannah Wilke warms the earth."--Dodie Bellamy "Elaine's poetry blends colloquial tongue-action and rigorous academic formalism better than anyone I've ever read. There may be some similarities to Clark Coolidge at times, but she is definitely her own...uh... 'man.' She resolves contradictions inside her work with a clarity that feels far more effortless than it must actually be. And it provides a sort of Dionysian pleasure that should be negated by its clearly Apollonian form roots."--Byron Coley "Kahn's poems are strategic attacks against mythic fictions like selfhood, gender, even the universal acceptance of scientific knowledge. But to characterize Kahn's poetics as invested in 'truth' would fail to highlight its multivalent relation to language as something that both delimits perception and serves as a vehicle of power."--Jeffrey Grunthaner, Hyperallergic "[L]ike one of God's tiny miracles."--Ben Mirov and Amy Lawless, Best American Poetry Praise for Women in Public "Kahn's precise and attentive debut full-length collection probes at notions of femininity with a sharp dagger, her terse but assertive stanzas carrying an understated conviction. 'Listen, I'm not political, I am distracted, ' she proclaims, though her focused language will convince readers of her intelligence and savvy." --Publishers Weekly "You can read this amazing book of poetry over the course of just one substantial subway ride. It has squishy imagery and also really good metaphors to make you feel things. 'A Voluptuous Dream During An Eclipse' is probably our favorite, but we love every single one of these poems."--The Fader "With Elaine Kahn's Women in Public in my back pocket, I am wondering how is it that anyone could ever identify with anything other than the abject, and how did the image of the poet ever become synonymous with that of a dandy? 'Do you think that you are greater than a mom?' Elaine Kahn writes later in the same poem, and then, later still: 'Life has its good points / And the fat, white thigh-bones / of a tourist.'"--Bookslut "'Do you think that you are greater than a mom?' This is an intensely honest, honestly intense poetry. Humorous, carnal, accusatory, celebratory--Women in Public tells me to get lost so I do. When I find myself later, I'm re-reading Women in Public."--Rod Smith "Kahn's poems don't end on the page. The ideas bleed from poem to poem, constructing a venous universe surging with the complexity of meaning making and the numerous contradictions so often forced upon the gendered human form ... Kahn packs her poems with a density as complex as the systems regulating the human body itself. However, where there could be claustrophobia, Kahn creates an opening, a portal for new meanings and definitions."--Entropy Magazine "A Celine Dion song comes on the radio at the salon. It reaches the chorus and every woman mouths the words together. 'Another one and another one.' Elaine is DJ Khaled. It is all of us in capitalism repeating everything over and over because our only commitment is to repeat until Elaine breaks it, 'If I could break/ the hymen of his ear with/ I can't stand you.'"--Laura Warman, Cosmonauts Avenue "Elaine Kahn's debut full-length poetry collection, Women in Public, explores the odd continuity between motherhood, blow-up dolls, lack, and love, asking the question: 'What does the world hate more / than women / in public.' The poems read as attempts to capture the contradictory nature of the feminine--to live on the edge of being, both subject and object, consumer and consumed. In this attempt, Kahn navigates the distance between the McRib and the abject with a dark eroticism. She wields metaphors, or more so, absences, in ways that leave you feeling as if you're falling into them. These are poems about to unravel."--Small Press Distribution "[Women in Public] as a whole functions as a grotesque carnival of embodiment, and our speaker's performance a type of poignantly raunchy clowning, an intentionally obnoxious and uncomfortable striptease aimed at the gaze itself. ... Kahn's collection is more than simply a retaliation to society's ogling of the female in public. It is also an inquiry into the self situated within a Plathean lineage of women's identity poetry, and it is this inquiry that peers at turns through our speaker's sardonic tomfoolery, reminding us just how not-simple the issue is. Inasmuch as our speaker's vulgar clowning seems a sarcastic play off the confessional, her bites are shot through with a real vulnerability..."―OmniVerse "Kahn's poems . . . bend and contort between seduction and repulsion. . . . Women in Public is composed 'in the gentlest font of sick, ' and from the compost heap of her poems of burnt hair, jerking off at night, car impound lots, and fuzzy green Jesus pictures grows a self in all its rich capacity."--Carleen Tibbetts, American Microreviews & Interviews "Beyond merely subverting traditional gender roles, Kahn's mostly female speakers confront our assumptions of what female agency and desire look like, asserting a breezy confidence. Many of the poems coalesce around Kahn's alternately witty and pull-no-punches voice, as well as her precise imagery. . . Kahn's ability to capture the raw materiality of a mood is, at its best, captivating."--Scout Praise for A Voluptuous Dream During an Eclipse "This is not the listless atemporality of the worldly and mundane -- 'like doing laundry all day long / he is being nowhere' she says in the titular poem -- but a conscious, creative and present force, where 'yesterday is gone' and Kahn's poetry is free to 'break / the hymen of his ear.'"--Dan Hoy Praise for Customer "Customer has an eye for truth when truth is the moment after you spit gum in someone's hair and realization that you did it because you want to be their friend; how an ocean 'spanks up' to your chest in the otherwise still of a perfect beach. The Customer sees the irrevocably fucked truths, and she candies them out like a clarity factory. . . Customer is arachnid and buttery, and her verbs make even the most ordinary scenarios grim and unsettling."--Ally Harris, diagram
Über den Autor und weitere Mitwirkende
Elaine Kahn is the author of Women in Public (City Lights, 2015), as well as several chapbooks including I Told You I Was Sick: A Romance (After Hours, Ltd., 2017), A Voluptuous Dream During An Eclipse (Poor Claudia, 2012) and Customer (Ecstatic Peace! Library, 2010). Her writing has appeared in Frieze, Brooklyn Rail, Jubilat, Poetry Foundation, Art Papers, and elsewhere. She received an MFA from the Iowa Writers' Workshop, and teaches at Pomona College and the Poetry Field School. She lives in Los Angeles, CA.
Produktinformation
Taschenbuch: 128 Seiten
Verlag: SOFT SKULL PR (4. Februar 2020)
Sprache: Englisch
ISBN-10: 1593765843
ISBN-13: 978-1593765842
Größe und/oder Gewicht:
14 x 21 cm
Durchschnittliche Kundenbewertung:
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Amazon Bestseller-Rang:
Nr. 1.152.604 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
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