Synopses & Reviews
Adding to the Latina tradition, Carmen Giménez Smith, politically aware and feminist-oriented, focuses on general cultural references rather than a sentimental personal narrative. She speaks of sexual politics and family in a fierce, determined tone voracious in its opinions about freedom and responsibility.
The author engages in mythology and art history, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the film Annie Get Your Gun, Nabokovs Lolita, facebook entries and Greek gods, they appear as part of the poets cultural critique.
Phrases such as “the caustic domain of urchins” and “the gelatin shiver of teas surface” take the poems from lyrical images to comic humor to angry, intense commentary. On writing about “downgrading into human,” she says, “Then what? Amorality, osteoporosis and not even a marble estuary for the ages.”
Giménez Smiths poetic arsenal includes rapier-sharp wordplay mixed with humor, at times self-deprecating, at others an ironic comment on the postmodern world, all interwoven with imaginative language of unexpected force and surreal beauty. Revealing a long view of gender issues and civil rights, the author presents a clever, comic perspective. Her poems take the reader to unusual places as she uses rhythm, images, and emotion to reveal the narrators personality. Deftly blending a variety of tones and styles, Giménez Smiths poems offer a daring and evocative look at deep cultural issues.
"Populated by female figures from Phaedra to Lolita, Baba Yaga to Joan Rivers, a 16th-century female pirate to Guadalupe, GimÃ©nez Smith's fourth collection can feel like showing up to the raucous and deviant afterparty of Judy Chicago's 'Dinner Party.' While this book's relationship to history, myth, and narrative is destabilized determined by a speaker whose 'I/eye turned out to be the most elusive quality' where 'me is a pastiche/ of learned gesture' and while a postmodern sense of irony, pastiche, and comedy are at the heart GimÃ©nez Smith's aesthetics, the poems demand a return to the material, the bodily, to where 'scars are radical exposition.' With her brazen and mordant voice, GimÃ©nez Smith generously deploys physical often violent imagery to challenge classist, consumerist, and socially polite forms of feminism in the interest of 'all the bodies strewn over history and semi-emerging from the earth.' Departing from 'a feral/ undergrowth that marks/ me as burial site' GimÃ©nez Smith traverses fable, manifesto, and the lyrical to exhume the familial, cultural, intellectual, and artistic inheritances at work in and on the poet. Frequently invoking the work of Ana Mendieta, GimÃ©nez Smith also takes the body, takes sex 'and put it everywhere,' offers 'an illegible surge/ of leaving trace/ of self en route,' and engages 'audience/ and documentation/ from every vista, each atom/ as witness and cohort.'" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
"Giménez Smith generously deploys physical—often violent—imagery to challenge classist, consumerist, and socially polite forms of feminism."—Publishers Weekly
“From first read to multiple return, these poems root into the readers own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity.”—Julia Sophia Paegle, author of Torch Song Tango Choir
“Carmen Giménez-Smiths Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!”—Joyelle McSweeney, author of Flet
“This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. (“Part-Cesaire, part-Solanas, part blood-sweat-and-tears.”) The devil here just might be feminism, the devil we all need. And with this devil Carmen Giménez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts.”—Juliana Spahr, author of The Transformation
“Rabble-rouse, translator, good witch, Carmen Giménez Smith is an alchemist of disparate ingredients mixing the canonical and folkloric as well as high art and pop culture in poems that reference the Virgin of Guadalupe and the Wizard of Oz, Ana Mendietta and Joan Rivers. “I want my problems to be Wallace Stevens but theyre Anne Sexton,” Giménez Smith writes. But her poems defy easy comparisons with their verbal dexterity, intellectual savvy, and fleshy insistence. In a stunning collection that combines fairy tale, autobiography, ars poetica, and manifesto, Giménez Smith asks women artists to question not only the fables told about us, but the ones we tell ourselves.”—Susan Briante, author of Utopia Minus
Milk and Filth is a collection of 42 poems exploring issues of gender, equality, sexuality and the artist-as-thinker in modern culture. Deftly blending a variety of tones, styles, and structure, Giménez Smiths poems evocatively explores deep cultural issues.
About the Author
Carmen Giménez Smith is an assistant professor in the English department at New Mexico State University, editor-in-chief of the literary journal Puerto del Sol, and publisher of Noemi Press. She is the also the author of Bring Down the Little Birds and Odalisque in Pieces.