Übermütter's Death Dance is a mixed-genre poetry series recounting a mother's experience of an adult child's death. Beginning with reportorial poet's prose, the book dissolves into a series of lyric pieces that incorporate song fragments and scripted movement into written text. Memoir-like surreal prose tales lace together multiple modalities of poetry into a script that creates and re-creates the "Übermütter"—a pluralized figure—into repeating but evolving reconstructions of grieving "selves." These are performance "selves" that appear and reappear, as reflected in the disembodied sightings that also distill this book's deeper exploration of matter through 3-D figuration. Interweaving multicultural historical-spiritual texts with literary and psychological accounts of death and dying, this hybrid poetry work provides space for words that mirror the grieving body, for a body that mirrors back the spatially moving text.Read more »
Charles Bernstein once argued that in a well-crafted poem, form acts as an extension of content, particularly as the subject of the work is enacted through the behavior of the language itself. Paige Melin’s writing not only utilizes hybrid forms to mirror content, but rather, form and content become seamlessly intertwined as the book unfolds. We as readers are invited into the heroine’s psyche, made to experience the beauty and terror of thought itself. Through her provocative syntactic ruptures and stream-of-consciousess narrative style, Melin subtly and gracefully interrogates the boundaries between interior and exterior, subject and object, self and world. Puddles of an Open is a stunning debut, as innovative in its technique as it is in its philosophical assertions.Read more »
Those Godawful Streets of Man by Stephen Bett reviewed in Pacific Rim Review of Books (10th Anniversary Edition)
Those Godawful Streets of Man by Stephen Bett
reviewed in Pacific Rim Review of Books (10th Anniversary Edition)
Reviewed by Richard Stevenson
I love what Stephen Bett is doing with language in his latest opus. I call it word jazz: poetry generated as much by sound association as image association; what Charles Olson called Projective Verse—proprioceptive poetry that lives in the moment and leaps playfully through word association nets not so much to create a thing, as to arrest the movement of the mind as it moves through microcosms and macrocosms of the cityscape, reflecting on and refracting what the poet finds.
Let me lay my cards out. I’ve been in a long love affair with English language haikai poetry (haiku, senryu, tanka, kyoka, zappai, renku); Kerouacian “pops” and Ginsberg’s “American Sentences”; trad to avant garde ‘ku; imagism; found poetry; realist and neosurrealist styles. So, after a bout of jazz poetry and performance in homage to Miles Davis, and performing cryptocritter/alien poems at kidlit conferences and local bandshell/gazebos (Frank Zappa for Tweens) with my jazz/rock troupe Sasquatch, I’ve been getting low and digging wit, irony, humour, epiphanies, bumper snicker spam-ku, scifaiku, for a good ten years or more.
Hence, I love the paradox of the so-called “wordless poem,” erasure, minimalism in all its modes, modern and post-modern. Bett’s his own man here. He’s absorbed the lessons of Donald Allen’s New American poets—the Objectivists, Beats, Black Mountain, New York and San Francisco schools, etc.; the Canadian Tish poets’ experiments with vernacular phonological phrasing in open form; the studious avoidance of the “burnished urn” Modernist reliance on myth, metaphor, and intellectual conceits, dense allusion, tight boxed containers.
Not that Bett’s poems aren’t marvelously allusive; the bric-à-brac of pop culture is all here: movies, cell phones, the Web, selfies, Tweets and all manner of squawks from the Interface. But there is nothing overtly confessional and the stitches and strophes are as comfortable and companionable as a Tetley Tea bag or
new silk pyramid of the latest craft tea. The allusions are to pop culture events: post-modern texts, not obscure texts. The reader is invited in—to squalid coldwater flats of yesteryear newly converted for the addicted and down-and-out of the lower east side of Vancouver, with sparking bare wires spitting between poles, maybe—but, no matter: the urban experience touches everyone and the reader will supply his or her own meta-narratives where the minimalist directive of the poet’s overarching narrative allows.
This is minimalism for readers who like their poems fat: rich, but sans impasto or ornament. A book of raw wire in the city: edgy, tense, sharp, angular, dangerous— in the electrified, computerized grids of cityscape we inhabit, and in the boxes we place each other in and peer out from; pole to pole down the dirty low-rent boulevard, in back alleys, out to suburbia, as we attempt to touch through wires and wireless interfaces, en face, live and in person in an age of celebrity cast-off culture and relationships.
At the heart of the book and appearing late in the accumulating narrative—the overall alienation we 21st-century zombie citizens feel facing globalization and its feral children—is the story of a dissolving relationship, the man too earnest and accepting; the woman raging and fading into madness. But nothing is cloying or mawkish or sentimental, or even confessional; instead we shift easily from a sort of Special Victims Unit episode of macro family skeleton news:
Then there was cousin
down the shop for smokes
Wife and baby daughter
at home for five
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READ THE WHOLE REVIEW in the Pacific Rim Review of Books (10th Anniversary Edition)
Special Storytelling Resources : Honor
The 2016 Storytelling World Resource Awards
This section features the 2016 winners and honors selected from the numerous nominated stories, books, and recordings. Beneath each award title is a short descriptive phrase about the resource contents. The major evaluative criterion was "story- listener appeal" for the items selected in Categories 1-6, and "usefulness for storytellers" for the resources honored in Category 7.
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