Your Person Doesn't Belong To You

by Isabel Sobral Campos

" Your Person Doesn't Belong To You is a transformative work, immersed in the intermittence, light, and expansion of character as embodied and voiced by Jeanne d'Arc -- who here is a composite of historical figure, main character from Carl Dreyer's 1928 film The Passion of Joan of Arc , and manifestation of Isabel Sobral Campos' skillful and compassionate handle on poetic material. Campos uses a poly-vocal mode of address, a fluid array of changing forms, and an attentiveness to the overlaps and contrasts between relative time and absolute time in order to read and explore the inward movements of consciousness in states of visionary duress. Alchemical in its commitment to giving sonic shape to the near imperceptible, Your Person Doesn't Belong To You is mesmerizing, moving, and strange." -- Anselm Berrigan

Genres: Poetry

90 pages, Paperback

First published January 1, 2018

About the author

Isabel Sobral Campos’s new book is How to Make Words of Rubble (Blue Figure Press).

Other works include Your Person Doesn’t Belong to You (Vegetarian Alcoholic Press), Material (No, Dear and Small Anchor Press), You Will Be Made of Stone (dancing girl press), Autobiographical Ecology (Above/Ground Press), and Sobriety Crystal (The Magnificent Field).

Her poetry has appeared in the Boston Review, Brooklyn Rail, in the anthologies BAX 2018: Best American Experimental Writing and Poetics for the More-Than-Human World, and elsewhere.

She is the co-founder of the Sputnik & Fizzle publishing series.

Reviews

[Freddy La Force · Rating 5 out of 5]

This is how you make Joan of Arc even cooler.

[Kristofer Petersen-Overton · Rating 5 out of 5]

Surreal, haunting, and beautiful.

[Sara Habein · Rating 5 out of 5]

This is a surreal and wonderful collection of poetry about Jeanne d'Arc and the 1920s film about her, and it feels great to have this be the first book I read in 2019.

[Sarah Giragosian · Rating 5 out of 5]

This is an exquisite, visceral collection. Innovative and avant garde, it embraces erasure and experiments in lineation that productively expand the lyric voice.