Bøger udgivet af FUTUREPOEM

Poetry. African & African American Studies. LGBTQIA Studies. Environmental Studies. Photography. Hybrid. Finalist for the 2020 Pen Open Book Award. WILD PEACH is a multisensory roaming of landscape and interior, often (but not always) in near stillness and varying light. The power to disrupt and obscure language is an essential tool in protecting this multimodal endeavor; in this project, poetry and photography warm the taste of memory, exploring nonlinear, non-narrative time through the sonic offerings of image and text --and the Outdoors, the interpersonal, and all offered onto. Black Secrecy demands and provides a spirit of collaboration, study, and play. Rest without guilt. Two steppin' in the parking lot. Screaming into the night sky. In the garden and the noise, what must be learned from the garble? We listen. The ocean is always just over your shoulder.

"Wendy Lotterman is a scientist of feeling, here presenting discoveries with surgical precision. If it's true that 'no good thing can be saved from a three-legged relay with the bad, ' then what forms the third leg? Maybe it's these cool, discomfiting lines, which invent a canny language for a 'weird, denuded universe' where 'the event postdates the mood it turned into.' The lyric mode of A REACTION TO SOMEONE COMING IN is intimate like an appendectomy is intimate, only your ex and your mom are watching, which definitely makes it better, even exquisite."--Kay Gabriel

"A crash course in 21st-century gender trouble, I have been waiting for a book like this forever, one that I could give to an ex-girlfriend, a secret crush, or a future self. Expansive, layered, unimpeachable, I sort of forgot poems could be like this--giddy, "prone to dizziness," and yes, a little reckless, but mainly in the way that it imagines the ontological realness of having titties while shamelessly flirting with the dialectic." -- Lara Mimosa Montes

Poetry. African American Studies. Asian American Studies. LGBT Studies. Winner of the Publishing Triangle's 2010 Thom Gunn Award for Gay Poetry and the 13th Annual Asian American Literary Award for Poetry. "I applaud Ronaldo Wilson's pathbreaking movement into what has never, never, in history, been said. About sexuality, in particular, these poems speak with incorrigible and raving clarity. And, always, they display intellectual curiosity, and an impatient, gorgeous readiness to make language new."--Wayne Koestenbaum"[A] warning to anyone tempted to believe that in objectification lies freedom. Livid inside an apocalyptic negative capability, these poems are constructed through their maker's deconstruction, and reading, I too, felt unmade."--Claudia Keelan"Ronaldo Wilson's POEMS OF THE BLACK OBJECT turns the parenthetical inside out, contents kicking and alive, person, race and being: where fate is in store in you, not for you, out there; in consciousness, and barely conscious, where consciousness is the accumulation of the scarcely discernible experiences. Wilson's poems captures states of person, the thinking being, the being thinking, the being perceived, and all the slippage between stages of person, Black and on the page, folding and unfolding layers of social construction."--Erica Hunt"The force here is in the erotic attachment between the human figures certainly--but also (and more surprisingly) between history and present-day experience. Ronaldo Wilson teases the reader with earnestness while he refracts event and experience. The effect is dazzling. The poems are panoramic. One part slave narrative, one part pillow book, POEMS OF THE BLACK OBJECT is a triumph of the social lyric: violent, tender, absurd."--G.E Patterson"For all the disturbances examined in this i

Poetry. Latino/Latina Studies. Women's Studies. How do we trace shifts of home or syllable, the history of becoming in language? We show what's passed on with the mother-milk, the blood-words, pushed from the body onto the page. That's what these poems do, spilling beautifully, forming in the mouth of the reader. This is the 'ark built to survive': our things built with words circling, mother-to-daughter-to- mother-to-daughter. -- Eleni Sikelianos Here are poems that reckon with the histories of family, generations, language and love: how our tongues are mothered or not, how we are given to and abandoned. Alcalá writes, 'What good is it to erect/ of absence/ a word?' Tough and gorgeous, smart and touching, these poems are offerings that tie, untie, unite, entice. -- Hoa Nguyen Rosa Alcalá's new poemario MYOTHER TONGUE begins in the archives of what has yet to be written. She writes with precision and dynamism from the borders between death (of a mother) and birth (of a daughter). What a body produces, and what produces a body: labor, trauma, memory, sacrifice, pain, danger, and language formed both on the tongue and in the culture and the spaces between what can be said and what is missing, the linguistic and existential problem of not having the right words. The darknesses in Alcalá's work emerge from what happens when we don't see ourselves in the languages that both form and destroy us as we labor in this 'dream called money.' Alcalá is a {un}documentarian of the highest order, a {un}documentarian of what history and memory try to erase. Her poems are urgent, demanding and haunting. -- Daniel Borzutzky

Poetry. African & African American Studies. "I get this pinwheel relationship to wisdom & history when I read Simone White. I'm in her dream, but it's a remarkable solidly packed one informed by the quotidian rarity of for instance a prose disquisition on lotion and skin and haircare especially in winter. Like Dana Ward's, her work sends me searching. Like what part of speech is here. As I'm wondering Simone sometimes exits first, and I even feel that a real piece of her poem is adamantly not here and that is her privacy, her power & her skill so what kind of quest is it, this beautiful complex & alive work. Here's my best guess. OF BEING DISPERSED is an ur text of the fourth wave of feminism which we come to realize is ocean and women are now standing on it and amidst this clatter of voices Simone White walks."--Eileen Myles "In Simone White's poetry the action is always multiple, palpable, sounding as thought, coming forward through this highly sensitized plane, sudden and hovering, exchanging centers, afflicted and added to by company. The continuous listening company demands--company including imaginary self, receding boundaries, the horseman on the night's street, the live, the loved, the drunk, the words, the turnstile, the endless destructive projections people force--and the rendering of that listening into irreducible depths of tone, wit, and perception constitute much of what makes OF BEING DISPERSED a masterful book. Buzzing word-love marking time beat by beat, being the ground inside and out, makes up the rest."--Anselm Berrigan "Macaronic plenitude of language instantiates places and states of mind. If Edouard Glissant says that we write in the presence of all the world's languages, then we have in Simone White's OF BEING DISPERSED, an underground stream reaching the surface of the page--in lin