Rae Armantrout has always taken pleasure in uncertainties and conundrums, the tricky nuances of language and feeling. In Conjure that pleasure is matched by dread; fascination meets fear as the poet considers the emergence of new life (twin granddaughters) into an increasingly toxic world: the Amazon smolders, children are caged or die crossing rivers and oceans, and weddi Rae Armantrout has always taken pleasure in uncertainties and conundrums, the tricky nuances of language and feeling. In Conjure that pleasure is matched by dread; fascination meets fear as the poet considers the emergence of new life (twin granddaughters) into an increasingly toxic world: the Amazon smolders, children are caged or die crossing rivers and oceans, and weddings make convenient targets for drone strikes. These poems explore the restless border between self and non-self and ask us to look with new eyes at what we're doing.
Conjure
Rae Armantrout has always taken pleasure in uncertainties and conundrums, the tricky nuances of language and feeling. In Conjure that pleasure is matched by dread; fascination meets fear as the poet considers the emergence of new life (twin granddaughters) into an increasingly toxic world: the Amazon smolders, children are caged or die crossing rivers and oceans, and weddi Rae Armantrout has always taken pleasure in uncertainties and conundrums, the tricky nuances of language and feeling. In Conjure that pleasure is matched by dread; fascination meets fear as the poet considers the emergence of new life (twin granddaughters) into an increasingly toxic world: the Amazon smolders, children are caged or die crossing rivers and oceans, and weddings make convenient targets for drone strikes. These poems explore the restless border between self and non-self and ask us to look with new eyes at what we're doing.
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mwpm mwpm –
How did the synthesis cross the abyss? * In a sentimental story there is only one of something: one newborn, one moment, one "once" embalmed in myrrh. * All I want is not to be first on one side, then the other, but to conjure a stream of sound and images for which I am not responsible. and maneuver within it - mouth and tall one thought. * The sea, now full of cannibal jellies, blue if the sky says so - Conjure, pg. 1-2 * * * 1 Before the show beginsm there's an ad for enlightenment. "We make the sham solidarity of youth real How did the synthesis cross the abyss? * In a sentimental story there is only one of something: one newborn, one moment, one "once" embalmed in myrrh. * All I want is not to be first on one side, then the other, but to conjure a stream of sound and images for which I am not responsible. and maneuver within it - mouth and tall one thought. * The sea, now full of cannibal jellies, blue if the sky says so - Conjure, pg. 1-2 * * * 1 Before the show beginsm there's an ad for enlightenment. "We make the sham solidarity of youth real!" And this is the heaven we wanted, starting off togeether at dawn, open savannah before us. Then history. 2 Like tourists, we're taken by the web of light and shadow on our wall and grab our cameras. Like tourists, we're carried away by the sober thuds of Frontline's theme music, its rhythmically punctuated threats. 3 When I say, "Where have you been?" I'm furious because I don't already know. Are you still, still the gap in my world? - Our History, pg. 70 * * * To convey great effort and mild reluctance, one groans briefly when sitting up in bed. This is sometimes known as prayer. * Ignore the wind chimes. They're a bad example. * To stand beneath or walk behind - to comprehend! - to grab wildly at surrounding objects. * Some grab at attention by quipping, "I don't care." Others sit in corners closely watching their fingers. * We fill the world with selfie avatars, and more and more children refuse to recognize their names. - Understandings, pg. 123-124
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