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The central subject in Julie Carr's debut poem collection is marriage. Intimacy is examined, not only in terms of the erotic, the quotidian, and the contractual, but also in terms of the intertextual: the pact between reader and writer and the blending of texts that results. Motherhood also figures as a kind of marriage-a bond that includes affective, legal, and sensual elements.
Using a variety of poetic structures--prose poems, stanzaic forms, concrete poems, fractured lyrics, direct dialogue, and discursive modes--Carr simultaneously embraces and breaks from the expected and the known, revealing the precarious balance between our desire for narrative, sequence, drama, and resolution, on the one hand, and rupture, fragment, and fracturing, on the other.
The central subject in Julie Carr's debut poem collection is marriage. Intimacy is examined, not only in terms of the erotic, the quotidian, and the contractual, but also in terms of the intertextual: the pact between reader and writer and the blending of texts that results. Motherhood also figures as a kind of marriage-a bond that includes affective, legal, and sensual elements.
Using a variety of poetic structures--prose poems, stanzaic forms, concrete poems, fractured lyrics, direct dialogue, and discursive modes--Carr simultaneously embraces and breaks from the expected and the known, revealing the precarious balance between our desire for narrative, sequence, drama, and resolution, on the one hand, and rupture, fragment, and fracturing, on the other.
JULIE CARR is a Ph.D. candidate in English at the University of California, Berkeley. She is the recipient of a Grolier Poetry Prize and an Eisner Award in Poetry. Carr's work has appeared in journals such as the Boston Review, New England Review, Epoch, American Letters and Commentary, and TriQuarterly.
With 'face upon face rising out of the,' Julie Carr's stunning
book-length epithalamion cracks open marriage and motherhood as if
they were geodes, exposing the dazzle within, 'a spark / in the
draft of the burning.' Its fierce lyricism both fractures and binds
together, so that the outside and the inside take hands. This is a
song well worth hearing again and again: 'Now all ring you ah.'
*author of Otherhood: Poems*
Carr illuminates the marriage of the inner and outer worlds, often
taking detours from sense and always taking them to interesting
places, always landing somewhere deeply felt.
*author of Goest*
Mead charts the vicissitudes of a marriage or a mind or the
sentence. Change and flux govern each turn in this collection of
domestic moments. Carr emerges us so completely into the dailiness
of this form that even when it is threatened by the fantasy of
dissolution we understand fantasy to be just another interruption
defining the familial self. The representational language that
governs the text becomes the necessary choice to prevent the
obliteration of that self.
*author of Plot*
Mead's taut and intensely felt family romance stands in contrast to
any easy family mythology imbedded in American culture.
*Indiana Review*
Carr conducts poetic form as if it were choreography. . . . [Mead]
radiates with a clean beauty.
*Poetry Project Newsletter*
Carr is fantastic at pushing language to the edge of everyday
usage, disrupting it just enough to make us see it anew, yet still
follow what she is saying. . . . Mead is an astonishing,
accomplished work that consistently surprised and delighted me.
*Stride Magazine*
In Mead, 'engender' is an anagram for 'endanger,' and the poet
demonstrates that to be fearless is to inhabit one's fear with
ardor. Be prepared, then, for this fierce and loving poetry. Carr
avers that 'measure becomes 'direction, determined. Its function
being to conjoin and so dissolve opposing forces.' Mead wrestles
with these forces, taut on the continuum between terror and
curiosity. The renewed proportion of Carr's measure makes a golden
tightrope on which I gladly walk.
*author of Apprehend*
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