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Q&A | May 20, 2013
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Other titles in the Pitt Poetry series:
Animal Eye (Pitt Poetry)by Paisley Rekdal
Synopses & ReviewsPublisher Comments:Voted one of the five best poetry collections for 2012 by Publishers Weekly, Animal Eye employs pastoral motifs to engage a discourse on life and love, as Coal Hill Review states "It is as if a scientist is at work in the basement of the museum of natural history, building a diorama of an entire ecosystem via words. She seem snot only interested in using the natural world as a metaphoric lens in her poems but is set on building them item by item into natural worlds themselves." Review:"Rekdal's fourth collection is relentlessly heartbreaking and intense, but also full of the pleasures of closely observed detail and imagination given free rein. In poems long and short, Rekdal looks at paintings and wax models ('on the first floor of Madame Tussaud's Wax Museum/ you can find celebrities and sports stars, every politician of note/ though you will not see these same figures five years in a row:// there is death even for the deathless'), a stuffed fox ('Nothing was ever this slinking'), a front-yard garden, a bouquet of flowers, all of which become harsh mirrors reflecting the painful lessons of lost love. 'What's the point of pain if it heals,' Rekdal asks, thinking of finding new love after divorce: these poems don't want to be let off easy. Even tango lessons aren't just for fun: 'The point is not to give yourself away but to connect/ as closely as you are able to// your partner's will in the embrace, so that intent/ slides seamlessly through two// sets of veins.' There's a bit of willful masochism in this dance — in any of life's various dances — when the goal is to join 'two separate hearts.'" Publishers Weekly (Starred Review) Copyright PWxyz, LLC. All rights reserved.
Synopsis:“Paisley Rekdal’s quiet virtuosity with rhyme and cadence, her syntactic fidelity to thought and sensation, her analytical intelligence that keeps homing in and in, her ambitious sentences and larger formal structures that try to embody with absolute accuracy the difference between what we ought to feel and what we really do feel—all these make her unique in her generation: no one sounds like she does, and her concern about the ‘post’ in postconfessional is as much a sign of her earnest desire to honor every aspect of her art, as it is an anxiety that spurs her restless investigations of family, selfhood, racial identity, and erotic life.” —Tom Sleigh About the AuthorPaisley Rekdal is associate professor of English at the University of Utah. She is the author of three previous poetry collections: The Invention of the Kaleidoscope, A Crash of Rhinos, and Six Girls Without Pants, as well as a book of essays, The Night My Mother Met Bruce Lee. She is the recipient of the Village Voice Writers on the Verge Award, the University of Georgia Press Contemporary Poetry Series Award, an NEA Fellowship, a Fulbright Fellowship, the Laurence Goldstein Poetry Prize from Michigan Quarterly Review, and the 2011–2012 Amy Lowell Poetry Traveling Scholarship. What Our Readers Are SayingBe the first to add a comment for a chance to win!Product Details
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