Winner of the Intro Prize, selected by Marianne Boruch. "How even to talk about what it is to read these haunted, ecstatic (wily so, calmly so) immensely likable, edgy poems that Deborah Bernhardt has given us? They're surprising, yes. You never know their next step, where they might leap, or return. The language and cadence--fractured, whizzing--of our most wired new century lives in them though Bernhardt's subjects are ancient...worked out in memory and right now, that dazzling look-at-this. And I did. I kept coming back to look at and through these poems, both solaced and unnerved by their energy and wit and darkness, their patience--even given their great restlessness--the meticulous care in which they were made, the ghosts of Bishop, Dickinson, Cummings, Hopkins here by name and spirit, how be they transformed, flooded, rekindled, all so oddly cherished..." --Marianne Boruch, judge
Finished. . . I like best the wildest poems here, where Bernhardt says inappropriate things and wanders about through a declension of sounds. Her more normal poems are a bit less interesting. I'll be curious to see what she does next.
This book is more fun than a new dress. Also scary researched. But it has a nice sloppiness about it (I mean an intentional sloppiness) that invites me in. Nothing against the poet on the pedestal (not naming names!), but I also like the poet who leans in to whisper in my ear.
i am not really an expert on language poetry, but i do know the difference between flashy, self-consciously clever language play, and poetry that seems to question language, even punctuation, from a place of genuine concern and curiosity. Bernhardt's book is the latter.
This is an experimental poetry collection that uses the idea of tics and compulsive utterance in a successful way. It's "difficult" work, but it's also funny, sexy, and good, overall.
I read this keeping in mind that she was judging the U of A Academy of American Poets prize. Wasn't surprised she didn't love my stuff, but hers is pretty decent.