Friday, June 22, 2018

CONTENTS

Galatea Resurrects is accepting engagements with poetry projects such as reviews, book introductions (or forewords prefaces or afterwords) not currently online, coverage of poetry events, and other engagements in any form (e.g. letters, poems, art, etc. in response to poetry).

You can review any poetry project. Book and chapbook review copies are available HERE. Reviews are not limited to recent releases as we believe Poetry is eternal. You can even review some beloved book that's long stayed on one of your bookshelves!

Email for queries and sending reviews: galateaten at gmail dot com

Eileen Tabios
Editor, Galatea Resurrects

CONTENTS

Click on title-links to be directed to the review or article


JUNE

Roseate, Points of Gold by Laynie Browne
Reviewed by Kylan Rice (6/22)

Dearest Annie, You Wanted a Report on Berkson's Class: Letters from Frances LeFevre to Anne Waldman edited by Lisa Birman

Reviewed by Neil Leadbeater (6/21)

FEATURED ESSAY: "Visual Writing, Derrida and the Unreadable Being of the Dead Sea Scrolls" by Tom Hibbard 

(6/20)

Comprehending Mortality by John Bloomberg-Rissman and Eileen R. Tabios

Reviewed by Neil Leadbeater (6/19)

Real Fire by Janet Hamill, with photographs by Richard Baron
Reviewed by Steve Dalachinsky (6/18)

"Polymer Codex" by Mark Young

Engaged by Jim Leftwich (6/17)

WORDS ON EDGE by Michael Leong

Engaged by Eileen Tabios (6/16)

Gathering Sparks by Paul Pines

Engaged by Michael Heller (6/15)

Orange by Christine Herzer

Engaged by Eileen Tabios (6/14)

INTERVIEW: Norman Fischer interviews Denise Newman 
(6/13)

Perverse, All Monstrous by Code-Rose Clevidence
Reviewed by Judy Roitman (6/12)

3 NEW YORK POETS: CHARLES NORTH, TONY TOWLE, PAUL VIOLI edited by Andrew McCarron

Reviewed by Neil Leadbeater (6/11)

ELEGY FOR MY BEAT GENERATION by Neeli Cherkovski and AMOR FATI by Jack Mueller

Reviewed by Steve Dalachinsky (6/10)

CLOSE APART by Robert Cowan

Engaged by Eileen Tabios (6/9)

The World of Burning by John M. Bennett
Engaged by Jim Leftwich (6/8)

FEATURED ESSAY: "Silence" by Raymond de Borja

(6/7)

DOUBLED RADIANCE: POETRY & PROSE OF LI QINGZHAO, Translated by Karen An-Hwei Lee

Engaged by Eileen Tabios (6/6)

Olvidos by John M. Bennett
Engaged by Jim Leftwich (6/5)

"Flash Book Reviews" of The Sufi Poems of Sultan Bahu, Trans. by Jamal J. Elias; Sugar-Paper Blue by Ruth Fainlight; Owen Sheers by Skirrid Hill; Regarding Wave by Gary Snyder; The Nerve by Glyn Maxwell; The Painted Bed by Donald Hall; The Standing Wave by Gabriel Spera; O Harvest Poems 1910-1960 by Carl Sandburg; and POEMS: A Selection by Leonie Adams
Reviewed by Aloysiusi Polintan  (6/4)


MAY
FEATURED ESSAY: Martha King on Frank O'Hara
(5/7)

Is That the Sound of a Piano Coming From Several Houses Down? by Noah Eli Gordon
Reviewed by rob mclennan (5/6)

COMPENDIUM: a collection of thoughts on prosody by Donald Justice, edited by David Koehn and Alan Soldofsky
Reviewed by Patrick James Dunagan (5/5)

HOY / TODAY by Juan Gelman, Translated by Lisa Rose Bradford
Engaged by Eileen Tabios (5/4)

The Sweating Lake by John M. Bennett
Engaged by Jim Leftwich (5/3)

INVISIBLE FISH by Susan F. Glassmeyer
Engaged by Eileen Tabios (5/2)

Publications by Jim Leftwich, Thomas Lowe Taylor, Joseph Carries, McKenzie Wark and John Milton
Engaged by Scott MacLeod (5/1)


APRIL
succubus in my pocket by kari edwards
Engaged by Eileen Tabios (4/30)

Objects from a Borrowed Confession by Julie Carr
Reviewed by Kylan Rice (4/23)

A DOG LOST IN THE BRICK CITY OF OUTLAWED TREES by Geoffrey Gatza
Engaged by Eileen Tabios (4/22)

"The Curse of Akkad"
Engaged by Aileen Cassinetto and C. Sophia Ibardaloza (4/21)

Olas Cursis by John M. Bennett
Engaged by Jim Leftwich (4/20)

women: poetry: migration [an anthology], Editor Jane Joritz-Nakagawa
Reviewed by Judy Roitman (4/19)

Masterplan by Eric Greinke and Alison Stone
Engaged by Eileen Tabios (4/18)

UNMARK by Montreux Rotholtz
Reviewed by Brian Burmeister (4/17)

Swedish Poetry Nowadays: An Anthology of 6 Poets in the 21st Century, Editor Kristian Carlsson
Reviewed by William Allegrezza (4/16)

Long Day, Counting Tomorrow by Jim Feast
Engaged by Steve Dalachinsky (4/15)

Compleat Catalogue of Comedic Novelties by Lev Rubinstein, Trans. by Philip Metres and Tatiana Tulchinsky; It's No Good: Poems / Essays / Actions by Kirill Medvedev, Trans. by Keith Gessen with Mark Krotov, Cory Merrill and Bela Shayevich; and I Live I See: Selected Poems by Vsevolod Nekrasov, Trans. by Ainsley Morse and Bela Shayevich
Engaged by Jim Leftwich (4/14)

THE CRITIC WRITES POEMS: Aloysiusi Polintan
(4/13)

The Spirit of the Staircase, poems by Tiana Nobile & paintings by Brigid Conroy
Engaged by Cristina Querrer (4/12)

Dark Pastures: Selected Songs and Poems by John Lunar Richey, WORKS by Danny Shot, and Hope Cries for Justice by Patricia Nicholson and William Parker
Reviewed by Steve Dalachinsky (4/11)

FEATURE: "Lesser Lights: More Adventures From A Hamptons Apprenticeship" 
By Sandy McIntosh (4/10)

Mirrors Mascaras by John M. Bennett
Engaged by Jim Leftwich (4/9)

Publications by Clark Coolidge, Jim Leftwich, John M. Bennet, Michel Roly, Leslie Scalapino, Keith Shein, Scott MacLeod, Lyn Hejinian, Brandon Brown, and Ron Silliman
Engaged by Scott MacLeod (4/8)


MARCH
You Envelop Me by Laynie Browne
Reviewed by Kylan Rice (3/22)

Poems and Fragments by Elise Cowen, edited by Tony Trigilio
Engaged by Jim Leftwich (3/21)

Pantoums by Dennis Daly
Engaged by Eileen Tabios (3/20)

MEAT by Sophie Seita, Sublunar by Tom Jenks, and In Accident & Emergence by Rosa van Hensbergen
Reviewed (viz "revicules") by Colin Lee Marshall (3/19)

Old Ballerina Club by Sharon Olinka
Reviewed by Sheila Black (3/18)

Like a Fat Gold Watch: Meditations on Sylvia Plath and Living, edited by Christine Hamm
Engaged by Eileen Tabios (3/17)

Three Ariel Poems by Sylvia Plath
Engaged by Tasha Cotter (3/16)

Featured Essay: "Brief Notes on Thomas McEvilley"
By Peter Valente (3/15)

Phaneagrams by Jake Berry
Engaged by Jim Leftwich (3/15)

The Body Ghost by Joseph Lease
Engaged by Eileen Tabios (3/14)

The Critic Writes Poems: Abigail Licad
(3/13)

SELECT POEMS by John M Bennett
Engaged by Ivan Argüelles (3/12)

Answer To An Inquiry by Robert Walser
Engaged by Jim Leftwich (3/11)

Silence by Julie Unruh
Reviewed by Jim McCrary (3/10)

Featured Essay: "Hay(na)ku/Sci(na)ku--Six-Word Poetry"
By Lauren McBride (3/9)

Sound Rituals by Jim Leftwich and Billy Bob Beamer
Engaged by John M. Bennett (3/8)

Debths by Susan Howe
Engaged by Jim McCrary (3/7)

Publications by Cole Swensen, Jean Day, P. Inman, Scott MacLeod, Daniel Davidson and Rae Armentrout
Engaged by Scott MacLeod (3/6)

Editor's Recommendations From Review Copy List
By Eileen Tabios (3/5)


FEBRUARY
Featured Poet: Sheila E. Murphy
(2/20)

The Palace of Flowers by Gerry Grubbs
Reviewed by Joseph P. Tomain (2/19)

The Small Door of Your Death by Sheryl St. Germain
Reviewed by Neil Leadbeater (2/18)

Featured Essay: "Karl Kempton and 'The Enigma of the Other': The Originary Structures of Truth and Discovery of Visual Writing"
By Tom Hibbard (2/17)

Stubborn by Sheri Reda
Reviewed by M. Earl Smith (2/16)

WHEREAS by Layli Long Soldier
Engaged by Eileen Tabios (2/15)

some more strange meteorites by Mark Young
Reviewed by Neil Leadbeater (2/14)

Guitar Tech by Mark Sonnenfeld
Reviewed by Jim Leftwich (2/14)

ANNE WITH AN E & ME by Wesley St. Jo
Engaged by Eileen Tabios (2/13)

Girl Gang by Juliet Cook

Reviewed by M. Earl Smith (2/12)

ORPHIC CANTOS by Ivan Argüelles
Engaged by John M. Bennett (2/11)

PHENOMENOLOGY OF THE FERAL by Julia Rose Lewis
Engaged by Eileen Tabios (2/10)

Phaneagrams by Jake Berry
Engaged by Jim Leftwich (2/9)

The Critic Writes Poems: Paul Pines
(2/8)

Featured Essay: "The Nearness of Asemic Writing" 
By Jim Leftwich (2/8)

MARAWI by Albert E. Alejo and Eileen R. Tabios with translations by Aileen Cassinetto
Reviewed by Neil Leadbeater (2/7)

farnessity, wordslabs by Randee Silv
Reviewed by Jim Leftwich (2/6)

Interview: William Burroughs
Engaged by jim mccrary (2/5)

Tres tressstrisss trieesss tril trilssss: Transmutations of Cesar Vallejo by Jim Leftwich
Engaged by John M. Bennett (2/4)

From Here by Zoe Skoulding, with illustrations by Simonetta Moro
Reviewed by M. Earl Smith (2/3)

Publications by Scott MacLeod, Michael Palmer, Thomas Lowe Taylor, Ann Lauterbach, Daniel Davidson and Laura Moriarty

Engaged by Scott MacLeod (2/2)

The Critic Writes Poems: Jim McCrary
(2/1)


JANUARY
POEMS & OTHER CREATIONS INSPIRED / INFORMED BY JOSE GARCIA VILLA
(1/23)
Ten Poems by Luis H. Francia
A Rendition of "Lyric 17" in RIGODONa film by Sari Lluch Dalena and Keith Sicat starring Joel Torre, Chin-Chin Gutierrez, and Art Acuna
"Dream" by Marton Koppany
"The Buzzard" and "The Giant in the Dirty Coat" by Jesse Glass
Tattoo by John Bloomberg-Rissman
Two Artworks by Cecilia Ibardaloza
Three Collages by Rupert Loydell
"[There, demons, demagogue]" by Nick Carbó
"The Secret Life of an Angel" by Eileen R. Tabios
Writing-Prompt responses by Rupert Loydell's students at Falmouth University

Transnational BattleField by Heriberto Yépez and Miximum Ca’ Canny: The Sabotage Manuals by Ida Börjel, Translated by Jennifer Hayashida
Reviewed by T.C. Marshall (1/22)

like a solid to a shadow by Janice Lobo Sapigao
Engaged by Eileen Tabios (1/21)

A Change of Climate edited by Sam Illingworth and Dan Simpson
Engaged by Helen Mort (1/20)

Albedo by Kathleen Jesme
Reviewed by Neil Leadbeater (1/19)

The End of Something by Kate Greenstreet
Reviewed by Judith Roitman (1/18)

upROUTE: The Language of Plates and NOTES ON THE SIGN OF POETRY: ADDENDUM & PRINTS, both by Sacha Archer
Engaged by Eileen Tabios (1/17)

LOSSES OF LIFE by Eric Hoffman
Reviewed by Paul Pines (1/16)

A WIFE IS A HOPE CHEST by Christine Brandel
Engaged by Eileen Tabios (1/15)

Publications by Scott MacLeod, Philip Whalen, Jim Leftwich, Olive Blackburn, Lyn Hejinian, Brandon Brown, and Anonymous
Engaged by Scott MacLeod (1/14)




ROSEATE, POINTS OF GOLD by LAYNIE BROWNE

KYLAN RICE Reviews



Roseate, Points of Gold by Laynie Browne
(Dusie, 2011)

Bodies waken to each other in a cross-light that shines through, each to each, each a wake, iridescence of quivering lipid lenses. One of us lies within the other, eye-to-eye refracting, “suspended like translucent bodies whose movements reveal luminescence.” One-on-one as if between, there is a curtain, then a hand, darkly against glass, touch or grace. Finding, in reality, there is no glass at all, nor lens, for “lenses fall away from the rushing of crinolines,” from the fabrics and flukes of the body, for “the body is a curtain,” cleaving and recombining in a draft of air, in globes of air rising from our lungs underwater, or, as if underwater, there floats “one body within another, as the moment of separation dissolves”—our own clear eyes having “foretold this day within which / there is no separation between this water and another.” So this quiet rupture. Quiet apotheosis of you through me, and vice versa.
But the surreal, sunken and brocaded corporeality of Laynie Browne’s Roseate, Points of Gold, does not happen in a vacuum. As I have tried to suggest, it occurs in and through other bodies—here, the mother’s body. Browne’s book unfolds, at least in part, as a gestational experiment, tracking the development of a you within a me. But more than that, as she sets “out in search of a question” by writing in series, each poem a stem-cell compounding, Browne reveals the question, the doubled, refracted interior that one becomes when bearing another’s body: “Now clearly she walks horizontally in both directions at once, recognizing the dimensionless quality of being (as the winter light), yet proceeding with an absolute form.”
Browne’s poems register the realization of interiority by virtue of the slow articulation of another interior (a child’s, “dressed in cartilage and bone”) forming inside the one that preexists. In writing these, it is as if “she walks across / a landscape of shells / whose splintered edges / draw the eye” observing

Opal—                        tints
            and chambers
rose

            once known only
            to their
inhabitants.

The rose and opal on the inside of the subject of these poems would not be known if not broken, just as the maternal subject in Roseate, Points of Gold would not come to the realization of an inner world that is in fact an outer if not for a similar, cryptic breaking that occurs in the opening lines of the book:

I have broken the black paper band
which once      held these movements together

…breaking of forgotten                       notions
how a night can spread

a luxuriant paper                     fan

This fan continues to unfold in the poem that follows, “reveal[ing] its pleats” as the “Accordion nature of thought...Precipitated by a number of cells dividing,” the subdivisions of a blastocyst. Here, Browne correlates the development of the fetal body with the parallel emergence of a new kind of ruptured thinking, a thinking through the self, which she fields across the extent of the book, exploring the effects of a nested interiority, optical and concave, rendering a close-up of textures and ornate detail.
The indeterminate oceanic space that Browne’s poems inhabit, strewing the undulant surface like floral wreaths, is evocative of H.D.’s Sea Garden (1916). In the final stanza of “Sea Rose,” perhaps the most well-known poem in H.D.’s collection, fragrance hardens into a leaf: “Can the spice-rose / drip such acrid fragrance / hardened in a leaf?” Similarly, Browne observes how “Form follows fragrance—a skin which expands to match movement, pressing through marbled light, breaking in strands, following arcs and concavities, exploring the invisible dimension of matter.”  Here, nothing invisible stays that way for long; everything comes to light. And yet, objects and persons formed fully are not permitted to remain that way. True, “form within matches form without,” but in this world of “Descending light” and “Iridescence,” where a plurality of interiors are interpenetrated by exteriors and vice versa, I am “No longer surprised to witness loss of form.” Browne struggles, as I speculate many mothers do, with the concurrent, warping deformations, both to body and identity, that attend a nine-month’s forming.
However, a loss of form does not mean formlessness—it just requires instead a change of perception, a lateral valence. To this end, Browne wonders, “If departure from form indicates a collapse in the landscape which once supplied locations for meeting, where is that hemisphere beyond the senses?” Again the “invisible dimension of matter” slips down across Browne’s gaze like a gelatinous cap, “returning body beyond form.” It did so similarly for H.D., whose own “thoughts of tendriled ether” arrived during a difficult, stormy pregnancy, which brought her and her child to the Scilly Isles, off Cornwall, where she recuperated under the care of a close friend. As Albert Gelpi describes, it was on these islands that H.D. felt “moved into moments of consciousness in which feelings of separateness gave way to a sense of organic wholeness....”[1] The personally traumatic “collapse” she experienced while pregnant “gave way to coherence and alienation to participation in a cosmic scheme”—sensations the poet herself described as a “jelly-fish consciousness..., a set of super-feelings” like a “closed sea-plant, jelly-fish or anemone” that “extend out and about us” like “long, floating tentacles.” As H.D. discovered, the sensory seat of these super-feelings, described in Notes on Thought & Vision, composed during her pregnancy, was the head as much as the “love-region of the body,” where they folded, tripled, and fanned out like a fetus. 
Precipitated by a body within a body, Browne explores a similar jelly-fish consciousness in Roseate, Points of Gold. Staged in cycles and series, the dissolution of the self and its form is discovered, in fact, to be the content of “becom[ing] itself each instant,” like a “sepal” or “sea-tulip.” The lesson extends beyond the reach of motherhood: in fact, until re-reading the collection, I wasn’t fully aware of the gestational narrative threading the whole. What remained, instead, was an insight into a self-disruption through writing, a loosening permitting internal perambulations, as though the “indivisible center” contained within the “hollow” body had come unhinged behind the breastplate, that “first true bone to be born…, surrounding the turreted trees through which she travels.” In this inversion, the body’s armor becomes a fortress turned inside-out, containing the outer world, just as “the mind is set around the body like a bone clasp which must be opened before intention becomes identical with form.” In other, less elegant words, Browne reverses what is typically contained with what contains: mind enshrouds body, turrets surround forest, child surrounds mother. Of course, as ever, demarcation remains porous, “edges disintegrate and extend to the other side,” which dissolves any hierarchy between container and contained, cathexis and catharsis, body and soul.
Thus, the mother is sent abroad, though burdened by “a basket of thought,”

In every posture
bassinet            bone


Indeed, it is as if “sitting, the body changes, in this illusion of stillness.” It may have been the intention of the subject of the book to seek “the opposite of setting out, to be oneself a catalyst,” but by the end of Roseate, Points of Gold it is reckoned that one is always to be found “Steps from the known / to encompass another form.” Driven by “movement within the body which emanates from another source,” Browne leads us through stillness, through “a labyrinth spread[] as the fingers of the newborn.” Mystery unspools into mystery: the strange thought of an unknowable growth-within is superseded by the impossible destiny of the being who eventually emerges; “Body unhinges matter. From creation sprung possibility. Gold clasps upon their insteps.” Favoring the continuous serial form, this is the audacity of Browne’s work, here in this book as well as elsewhere: to demonstrate the possibilities that unfurl always, even in the simplest gesture, or most daily task. The possible futures we are led into, deeper into a labyrinth that is a clearing where we shall lose ourselves in love, rarely realizing we have been guided there by a “guide whose hands are small and exacting,” a guide whose “head fits into the palm of her hand.” 






[1] Albert Gelpi, “The Thistle and the Serpent in H.D., Notes on Thought & Vision (San Francisco: City Lights, 1982), 11.




*****

Kylan Rice has an MFA from Colorado State University, and he is working on his PhD at the University of North Carolina at Chapel Hill. His book reviews have been published by Colorado Review, West Branch, Carolina Quarterly and the Emily Dickinson Society Bulletin. Some of his poems can be found at Kenyon Review, The Seattle Review, and elsewhere.