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National Gallery

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4.30  ·  Rating details ·  10 ratings  ·  4 reviews
Jonathan Ball's fourth poetry book, the first in seven years, swirls chaos and confession together. At the book's heart is a question: Why create art? A series of poetic sequences torment themselves over this question, offering few answers and taking fewer prisoners. Loose sonnets that consider the artistic creations of Leatherface, monster-killer from The Texas Chain Saw ...more
Paperback, 112 pages
Published September 17th 2019 by Coach House Books
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Kathleen
Oct 13, 2019 rated it it was amazing
Blade Performance, Blood-Graffitied Van

The slaughterhouse, grand illusion
of our age. Where happens all the things
we pretend not to know, pretend that we
don't see, we act like we don't know

we want to see. Your knife cuts deep
another's self-scarred skin. You want
to know what that takes, it takes something,
doesn't it? It takes something. It takes.

The slaughterhouse shut down, to blind
your eyes. To bandage them with what
they choose to see. The slaughterhouse
exists to hide the truth, to hide it

in
...more
Kathryn Mockler
Dec 28, 2019 rated it it was amazing
Shelves: 95books-2019, poetry
Love this book!

One of my favourite lines: "I'll have the special, crotch filling with hope." (from "Whataburger")
Dina Bucchia
Sep 28, 2019 rated it it was amazing
Jonathan Ball's collection is asking (ruminating on, writing around, running around a track contemplating) why to make art. And maybe it's to make people laugh, or feel sad (I got sad in this book and I laughed) or consider some weird shit about the world, or to think about movie murderers, or paintings or selfies or the future (or lack thereof) and maybe that's enough of a reason. If I get a say, I am very pleased that he chose to make this art. This book of poems being the art.
Ben Niespodziany
Jan 21, 2020 rated it liked it
A strong collection of poems. Reminded me of Gary Barwin a little bit. I just requested Clockfire, his book of plays, which sounds more up my alley.
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Jonathan Ball is the author of three books: Ex Machina (BookThug, 2009), Clockfire (Coach House Books, 2010), and The Politics of Knives (Coach House Books, 2012). He also wrote the academic monograph John Paizs's Crime Wave (University of Toronto Press, 2014) about the cult film classic, and co-edited (with Ryan Fitzpatrick) Why Poetry Sucks: Humorous Experimental Canadian Poetry (Insomniac, ...more