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Portuguese: Poems

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Portuguese: Poems Cover

 

Synopses & Reviews

Synopsis:

The poems in Portuguese began while Brandon rode city buses around Seattle, and were inspired by his fellow passengers—their voices and their minds, their faces and their bodies, their exuberances and infirmities, and the ways in which they enlivened and darkened the days at once. It was with and within these people that poetry seemed most alive. At the same time, they began as responses to the words and writings of visual artists, mostly painters, whom Brandon was reading while riding the bus, especially Etel Adnan, Eugène Delacroix, Alberto Giacometti, Paul Klee, and Joan Mitchell, all of whom appear in the book. It was with and within these people, also, that poetry seemed most alive.

In both senses, Portuguese is a work of color.

Portuguese owes also a debt to a visit to Beirut, Lebanon (2009); six months spent in a cabin in the woods of western Maine (2010-2011); and the Japanese poets Kazuko Shiraishi, Ryuichi Tamura and Minoru Yoshioka, and their translators. It was written primarily in Seattle, Washington; Beirut, Lebanon; and Weld, Maine, though revised in Albany, California; Beacon, New York; and St. Louis, Missouri. In that sense, Portuguese is a travelogue, as well as a work of restlessness.

Throughout writing the poems that became Portuguese, the presiding struggle was with poetry itself—the form and its impulses—voice and mind, face and body, exuberance and infirmity—as well as with the act of writing. The book actually began in the early 1980s, while on the bus to elementary school in a small town in New England, when Brandon was taunted for being “Portuguese.” In that sense, Portuguese returns its author to this moment in which he felt challenged to become what he was being called, however falsely, and despite feeling confused, flushed and afraid. In that sense, Portuguese is a work of crossdressing.

However, Portuguese is both more and less than all these things. It was—and is—a way to keep up with life in the form of drawing observations and feelings on paper, and to give form to the energy making up some part of memory. It is the fourth book in a series that began with The Alps, The Girl Without Arms, and O Bon. In this sense—and in all those above—it is an act of preservation, and therefore a work for his friends, his family, and for love.

Synopsis:

While on the bus to elementary school in a small New England town, Brandon Shimoda—the offspring of a Japanese American father and white mother—was taunted for being “Portuguese.” Shimodas latest collection returns the author to a moment he felt challenged to become what he was being called, however falsely, and despite feeling confused, flushed, and afraid.

The poems themselves began to form in adulthood while Shimoda—again riding the bus—took in his fellow passengers: their voices, minds, faces, and bodies; their exuberances and infirmities, the ways they both enlivened and darkened the days. It was within these people that poetry seemed most alive.

At the same time, the poems in Portuguese are a response to the words of visual artists whom Shimoda was reading while riding the bus—Etel Adnan, Eugène Delacroix, Alberto Giacometti, Paul Klee, and Joan Mitchell, all of whom appear in the book. It was within these people, too, that poetry seemed most alive.

The presiding struggle in this collection is with poetry itself—the form and its impulses, and the act of writing. But Portuguese is more than all these things. It was—and is—an act of preservation, giving form to the energy that makes up some part of our memory.

About the Author

Brandon Shimoda is the author of three previous books of poetry--O Bon (Litmus Press, 2011), The Girl Without Arms (Black Ocean, 2011), and The Alps (Flim Forum, 2008)--among other solo and collaborative works in print, on cassette, online, and on vinyl. He is currently co-editing, with poet Thom Donovan, a retrospective collection of writings by Lebanese-American poet Etel Adnan (Nightboat Books, forthcoming). He was born in California, and has lived most recently in Maine, Taiwan, and Arizona.

Product Details

ISBN:
9781935639510
Author:
Shimoda, Brandon
Publisher:
Tin House Books
Subject:
Poetry-A to Z
Edition Description:
Trade Paper
Publication Date:
20130231
Binding:
TRADE PAPER
Language:
English
Pages:
100
Dimensions:
5.5 x 8 in

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Portuguese: Poems New Trade Paper
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Product details 100 pages Tin House Books - English 9781935639510 Reviews:
"Synopsis" by ,
The poems in Portuguese began while Brandon rode city buses around Seattle, and were inspired by his fellow passengers—their voices and their minds, their faces and their bodies, their exuberances and infirmities, and the ways in which they enlivened and darkened the days at once. It was with and within these people that poetry seemed most alive. At the same time, they began as responses to the words and writings of visual artists, mostly painters, whom Brandon was reading while riding the bus, especially Etel Adnan, Eugène Delacroix, Alberto Giacometti, Paul Klee, and Joan Mitchell, all of whom appear in the book. It was with and within these people, also, that poetry seemed most alive.

In both senses, Portuguese is a work of color.

Portuguese owes also a debt to a visit to Beirut, Lebanon (2009); six months spent in a cabin in the woods of western Maine (2010-2011); and the Japanese poets Kazuko Shiraishi, Ryuichi Tamura and Minoru Yoshioka, and their translators. It was written primarily in Seattle, Washington; Beirut, Lebanon; and Weld, Maine, though revised in Albany, California; Beacon, New York; and St. Louis, Missouri. In that sense, Portuguese is a travelogue, as well as a work of restlessness.

Throughout writing the poems that became Portuguese, the presiding struggle was with poetry itself—the form and its impulses—voice and mind, face and body, exuberance and infirmity—as well as with the act of writing. The book actually began in the early 1980s, while on the bus to elementary school in a small town in New England, when Brandon was taunted for being “Portuguese.” In that sense, Portuguese returns its author to this moment in which he felt challenged to become what he was being called, however falsely, and despite feeling confused, flushed and afraid. In that sense, Portuguese is a work of crossdressing.

However, Portuguese is both more and less than all these things. It was—and is—a way to keep up with life in the form of drawing observations and feelings on paper, and to give form to the energy making up some part of memory. It is the fourth book in a series that began with The Alps, The Girl Without Arms, and O Bon. In this sense—and in all those above—it is an act of preservation, and therefore a work for his friends, his family, and for love.

"Synopsis" by ,
While on the bus to elementary school in a small New England town, Brandon Shimoda—the offspring of a Japanese American father and white mother—was taunted for being “Portuguese.” Shimodas latest collection returns the author to a moment he felt challenged to become what he was being called, however falsely, and despite feeling confused, flushed, and afraid.

The poems themselves began to form in adulthood while Shimoda—again riding the bus—took in his fellow passengers: their voices, minds, faces, and bodies; their exuberances and infirmities, the ways they both enlivened and darkened the days. It was within these people that poetry seemed most alive.

At the same time, the poems in Portuguese are a response to the words of visual artists whom Shimoda was reading while riding the bus—Etel Adnan, Eugène Delacroix, Alberto Giacometti, Paul Klee, and Joan Mitchell, all of whom appear in the book. It was within these people, too, that poetry seemed most alive.

The presiding struggle in this collection is with poetry itself—the form and its impulses, and the act of writing. But Portuguese is more than all these things. It was—and is—an act of preservation, giving form to the energy that makes up some part of our memory.

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