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t/here it is [Pehme köide]

  • Formaat: Paperback / softback, 98 pages, kõrgus x laius x paksus: 229x168x9 mm, kaal: 194 g
  • Ilmumisaeg: 20-Jan-2023
  • Kirjastus: Omnidawn Publishing
  • ISBN-10: 1632431076
  • ISBN-13: 9781632431073
Teised raamatud teemal:
  • Formaat: Paperback / softback, 98 pages, kõrgus x laius x paksus: 229x168x9 mm, kaal: 194 g
  • Ilmumisaeg: 20-Jan-2023
  • Kirjastus: Omnidawn Publishing
  • ISBN-10: 1632431076
  • ISBN-13: 9781632431073
Teised raamatud teemal:
"A poetry collection in nine sections that each take on an aspect of memory. The poems in t/here it is take multiple forms as each section reflects on variations of experience, engaging with the simultaneity of historic and present time while yearning for a future that is beyond what we can envision. In Section I, the poet grapples with ancestral legacy and connection to the natural world. Section II deals with the way one traverses the urban landscape and with various strategies of survival, and SectionIII recalls the observations and experiences of youth. Through nine linked poems, Section IV complicates the idea of witness under a capitalistic system bent on exploitation and devaluing the sacred human experience. Section V speaks to the lost opportunity of making profound human connections during the race to acquire more material goods. In Section VI, the poems take on the domestic and institutional places that govern our lives. A single poem forms Section VII, mapping the intersection between jazz and emotion. With Section VIII, Anderson pays homage to jazz greats and reflects on the ways that listening can carry one back to moments of growth and lamentation. The two poems that close out the book in Section IX bring the reader to a place of vulnerability, expressing the desire to be able to discern the multiple avenues of one's journey with awareness. "--

"In t/here it is, poet T. J. Anderson III describes the struggle to articulate an autobiographical journey of mind and heart through the vehicle of poetry. With a voice that is fueled by an African American aesthetic, Anderson negotiates his continual coming of age in a place that is often bent on destroying his identity. These poems resist and subsequently celebrate their right to exist on their own terms. Each poem challenges the need to create a linguistically informed tonality that speaks to the shifting experiences and perceptions of history: personal, cultural, national, and spiritual. The poetry in this collection takes shape in multiple ways as each section contributes to various installations of memory"--

A poetry collection in nine sections that each take on an aspect of memory.
 
The poems in t/here it is take multiple forms as each section reflects on variations of experience, engaging with the simultaneity of historic and present time while yearning for a future that is beyond what we can envision. In Section I, the poet grapples with ancestral legacy and connection to the natural world. Section II deals with the way one traverses the urban landscape and with various strategies of survival, and Section III recalls the observations and experiences of youth. Through nine linked poems, Section IV complicates the idea of witness under a capitalistic system bent on exploitation and devaluing the sacred human experience. Section V speaks to the lost opportunity of making profound human connections during the race to acquire more material goods. In Section VI, the poems take on the domestic and institutional places that govern our lives. A single poem forms Section VII, mapping the intersection between jazz and emotion. With Section VIII, Anderson pays homage to jazz greats and reflects on the ways that listening can carry one back to moments of growth and lamentation. The two poems that close out the book in Section IX bring the reader to a place of vulnerability, expressing the desire to be able to discern the multiple avenues of one’s journey with awareness.

Arvustused

Anderson, who knows and can teach us a thing or two about the music, hears poet/pianist Cecil Taylor coming from a place where the devil gives up his hold of the music. The devils loss, that devil we know, is all to our gain. t/here it is turns out to be a place somewhere between spoken and vernacular, a place where phonemes congregate, arranging themselves into new melodies/meanings, even pronunciations. These are poems that tune your ears and turn them towards the new good news. -- A.L. Nielsen, author of A Brand New Beggar "Anderson turns shards of memory into poems we can never forgetfleshy, raw, intimate poems that cut to the bone and cradle the heart. He summons worlds of violence and violins, revealing the secrets of a culture capable of surviving the multiple pandemics that made his world and our own. To the readers who did not know Anderson was one of Americas greatest contemporary poets. -- Robin D. G. Kelley, author of Thelonious Monk: The Life and Times of an American Original "Anderson is obsessed with sound: The pulse of his ancestors, the rhythms of nature, the inquisitive beat of his poetry, and the sound of all three meeting on the page for what, he has convinced us, is an inevitable reckoning. His poems act as throbbing, brailed maps that we want to reread, touch, and interact to record invaluable vestiges, knowing the treasure is in the questions tendered. Poems like Whats in a Name end with beginnings. -- Kimberly Reyes, author of Running to Stand Still I am mesmerized by this book. I have rarely been so swept up by the music in a poets language as I am in reading Andersons unrelenting symphony of American diction, American history, and the visceral realities of his American experience. These poems buzz with wordplay, dance with lingo, shimmy with imagery. Just as much as all that, they are unflinching in their wisdom about race, about class, about all the violence and discord in our American culture. Once I picked up t/here it is, I could not . . .scratch that. Once t/here it is picked me up, it would not let me go. -- Jaswinder Bolina, author of The 44th of July

Poetics 15(4)
Section I (Floorboard)
What's in a Name?
19(2)
There are Rivers
21(2)
The Channel
23(2)
The Porch Sweepers
25(2)
Oble Tanbou I
27(6)
Section II (Spittle)
Newsprint
33(1)
The Last Romantic
34(1)
Drive/Bye
35(2)
Bar Fly
37(1)
No Yoke
38(1)
Fast Talking Hombre
39(4)
Section III (Entrance)
Biblio/Biographie
43(4)
Pretty Boy!
47(1)
The Tennis Shoe Man Lives in Nashville
48(1)
The Wizard of Oz, 1965
49(2)
Sanatorium, 1977
51(3)
The Implausibility of Rabbits
54(5)
Section IV (9 lives / 9 lines)
Overheard
59(1)
Accord
60(1)
Fin de Siecle
61(1)
Security(%)Scrutiny
62(1)
Neighbor boy
63(1)
Incident
64(1)
Live lyre
65(1)
Interview
66(1)
M. N. (original recipe)
67(4)
Section V (Follicles)
Reprise
71(1)
Seasonal
72(2)
Circa 1902, from the French
74(1)
The eye doctor who doesn't see
75(2)
The hotel worker
77(4)
Section VI (Middle)
T/here it is
81(4)
Sitting on my Side Porch Reading Ramanujun
85(2)
A Mist Consumes
87(2)
The Language of Faculty Meetings
89(2)
Dr. Martin Luther King Jr. Day
91(3)
Picaresque
94(3)
Section VII (Carapace)
Site Specific
97(6)
Section VIII (Tapestry)
On Hearing Cecil Taylor
103(1)
Visions of Jimmy
104(3)
That Kind of Summer
107(2)
Space is the Place
109(2)
Gambit
111(2)
Mary of Witnesses
113(4)
Section IX (Weight)
Involuntary stutter
117(1)
Prayer
118(3)
Notes 121(2)
Dedication 123(2)
Publication Announcement 125
T.J. Anderson III is the author of Devonte Travels the Sorry Route, At Last Round Up, River to Cross, and Notes to Make the Sound Come Right: Four Innovators of Jazz Poetry. Anderson has produced two poetry and music collaborations: The Mask (with William Bolcom) and Songs of Illumination (with T.J. Anderson Jr.), and the highly acclaimed spoken word CD, Blood Octave. He is professor of English at Hollins University in Roanoke, VA.