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House of Forgetting reviewed in Jacket2

 

Transitionary framings, a case

A review of Geoffrey Gatza’s ‘House of Forgetting’

House of Forgetting

Geoffrey Gatza

BlazeVOX [books] 2012, 38 pages, free at scribd.com, ISBN 978-1-60964-099-6

For readers of Gatza who have already come to expect the unexpected; for those fascinated with emerging innovation in book-structured polygraphies, then House of Forgetting is yet another contribution to what is becoming a prodigious oeuvre. For those who have come recently to poetry and poetics, or desire a greater understanding of Intermedia poetry, House of Forgetting offers an attractive entrée.

While there is a “heart” to House of Forgetting (human figures with human concerns) and an ekphrastic narrative (the death of a beautiful woman/gifted revenant), there are also elements of language-image that transform temporal and human identity. Such transformations themselves form book “frames”; generate a hypertextuality, (“of moving frame to frame”) as Charles Bernstein notes; an alternative to the perceptual limitations of “frame fixation” and “frame lock.” Such transformations seem to invite the display of “an art of transition through and among [interpretative] frames.”[1]

The idea of elastic, transitionary frames in which material assumes the provisional form of the book is as true of this collection as it is of Gatza’s other work: the five seasons of rewoven myth in Black Diamond Golden Boy Takes Bull By Horns; the hagiography of saints and celebs among word images (coinages consisting of gray-scale mutations and other unique treatments), seemingly aleatory and unrelated, found in Secrets of my Prison House, and the most notable of these may beKenmorePoem Unlimited, that four-volume satire on American suburbia, a pataphoric world risen on a foundation of assumptions, fantastic as they are amusing, revealing angles of cultural significance.

House of Forgetting consists of two temporal frames: each interacts with the other in transfiguring human form and identity. The first is “The Twelve-Hour Transformation of Clare,” a woman who morphs into words, and the second section, “Recipe for Water,” is that of an artist who is drawing his wife’s portrait while she is in her deathbed, beginning “Now,” going into the past (“17 Days Ago,” “Last Saturday,” and fragments with similar titles) to conclude with “Five Years From Now” told in the voice of cultural assumption: a radio announcer. The “artist” becomes a reported figure; the “subject,” a fictional image no less real than the figure it re-presents. These are not pairs, but multiples. Their reappearance in alternative contexts suggests, rather strongly, an operative multeity of figures, an ongoing dance with interchangeable partners.

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Two reviews on Petrarchan by Kristina Marie Darling

 

Here are two new reviews of Petrarchan by Kristina Marie Darling. 



Book Information:

 

· Paperback: 72 pages

· Binding: Perfect-Bound

· Publisher: 

BlazeVOX [books] 

· ISBN: 978-1-60964-116-0

$16

 

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BRUSHES WITH by Kristina Marie Darling reviewed in WORD RIOT

 

REVIEWS

Brushes With by Kristina Marie Darling

Review by Ben Moeller-Gaa

There are many different kinds of books out there. Some ask questions. Some answer questions. And some lie in between. Kristina Marie Darling’s books fall into the latter category. Her work actually goes a step further and requires the reader to ask their own questions and search for their own answers. Darling is a master of empty spaces, both being unafraid to leave most of the physical page of a book empty, giving us only footnotes to decipher, but also for allowing empty space within the text that allows you to enter into it and make of it what you will. It takes guts to do this and great skill to do it right. When reading Brushes With, her guts and skill quickly become evident.

This is a book of flash fiction consisting of 8 short titled pieces/chapters that don’t quite fill up a single page along with two illustrations that serve up as the Appendix. These pieces are not told in chronological order and are impossible to decipher without the footnotes. Each piece contains anywhere from 5 to 17 footnotes. The footnotes are the keys to unlocking the text even as they spin it on its head. Whether the footnotes are based on factual real world truth or simply part of the fiction is up to you to decide. Either way, they speak to the truth of the book. For example, in the piece titled “ANTARCTICA”, we have the following lines:

So I sit down and try to carve a man from a block of ice.
In every direction, the same snow-covered fields. 24

These are footnoted with the following:

24. Throughout the nineteenth century lyric poetry, the heroine’s desires are
projected onto the meadow itself.

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BRUSHES WITH by Kristina Marie Darling featured in Extract(s)

Brushes with by Kristina Marie Darling is featured at Extract(s): Daily Dose of Lit.  Here's the link:

http://dailydoseoflit.com/2013/11/15/excerpt-kristina-marie-darling/


Kristina Marie Darling is the author of fifteen books, which include Melancholia (An Essay) (Ravenna Press, 2012),Petrarchan (BlazeVOX Books, 2013), and a forthcoming hybrid genre collection called Fortress (Sundress Publications, 2014).  Her awards include fellowships from Yaddo, the Helene Wurlitzer Foundation, and the Hawthornden Castle International Retreat for Writers, as well as grants from the Kittredge Fund and the Elizabeth George Foundation.  She is currently working toward a Ph.D. in Poetics at S.U.N.Y.-Buffalo.

Brushes With is available now from BlazeVOX[books].

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Kristina Marie Darling has Two New Reviews

 

 

Kristina Marie Darling has two new great reviews. The first is a review on her book Vow, which was just published in the November issue of Stirring: A Literary Collection.   

 

http://www.sundresspublications.com/stirring/darling.htm  

 

The second is an insightful review-in-footnotes of Petrarchan in the new issue of Diagram reviewed by Lisa Ampleman.

 

http://thediagram.com/13_5/rev_darling.html

 

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