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Lydia Cortes freely admits to having been seduced, surrendering to "the excess of the genus lexis," "night binges of magic." With elements of an unassuming declarative, riffing word play, a cheeky sensuality and the pathos and illuminating flashes of biographical vignette, her surrender to the charms of that excess is, by turns, incantatory, sardonically humorous and self-revealing, all tinged with the meditative self-regard of a diligent diarist. |
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The poems of Brainlifts traverse vast visual territories of art, ancient, present, and future. Individually, they look and read like great screens woven out of strands of perception and meditation within a curious and cultured brain expressing itself in often aphoristic, end-stopped lines. And "The Last BamiyanPoem" earns its title: what more could be said? It is a masterpiece... Anselm Hollo |
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Surely there'seal me, a real Stephanie Gray, a Buffalo, a band once called Metallica, real truckers wearing caps and a breadstore full of real bread that will never close. Leave it to a filmmaker poet (Stephanie Gray) to write a post melancholy book of poems in which everything leaving is saved not lost both by history's first appearance in print of "holy moly" and also the simple fact of repetition getting new (again) in the hands of this natural master or mistress. Stephanie says it best: It's like strangers, it's like fire. |
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Memory being abandoned buildings, talented lips, the hairy embrace of Lincoln. Born, so to speak, and taking the wheel so as to be blown sky-high and jobless. Wanting to be held and betting, in this myopic, tenderless 21st century America, on sleeping for free. A hell of a book. |
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Valerie Fox's idiosyncratic and often hilarious poems, with their playful shifts of syntax and thought, are shadowed over by a mysterious grace. |
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