The prose poems in the book allowed me to play with speculative measures within the seemingly fixed parameters of the sentence and the prose block, while their cool-eyed speaker simultaneously kicks at worn-out records, preventable accidents, and other auto-rhythmic effects of seemingly fixed civic and social parameters. This one is the coldest. It appears in the book after a really good dream of an alternate future, one that dissipates but nonetheless leaves a frustrated desire for softer wrecks, exquisite care, and queer possibility ambulating in its wake.
Leah Nieboer on "THINGS HAD GONE BACK TO BEING WHAT THEY WERE" |
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A Conversation with Shane McCrae & Jana Prikryl
"I think narrative is underused in poetry, but I also think I understand why it’s underused—it became exhausted. So much narrative poetry of the last fifty years or so has been linguistically flat, uninteresting, as if it were achievement enough to tell a story with line breaks."
via THE NEW YORK REVIEW |
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What Sparks Poetry:
Lena Crown on Taneum Bambrick's Vantage
"No tagline could hold all that Bambrick has achieved: a sweeping portrait across time of a community beholden to a single, monumental piece of infrastructure, a queer coming-of-age, a specific yet universal story of ecological death and climate resilience. This is a landscape where the drowned and concealed do not stay that way; monoliths crack and water levels fall, revealing what we’ve jettisoned, sacrificed, tolerated into obscurity." |
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