After 9/11, postmodernism and irony were declared dead. Charles
Bernstein here proves them alive and well in poems elegiac,
defiant, and resilient to the point of approaching song. Heir to
the democratic and poetic sensibilities of Walt Whitman and Allen
Ginsberg, Bernstein has always crafted verse that responds to its
historical moment, but no previous collection of his poems so
specifically addresses the events of its time as "Girly Man,
"which" "features works written on the evening of September 11,
2001, and in response to the war in Iraq. Here, Bernstein speaks
out, combining self-deprecating humor with incisive philosophical
and political thinking.
Composed of works of very different forms and moods--etchings from
moments of acute crisis, comic excursions, formal excavations,
confrontations with the cultural illogics of contemporary political
consciousness--the poems work as an ensemble, each part
contributing something necessary to an unrealizable and
unrepresentable whole. Indeed, representation--and related claims
to truth and moral certainty--is an active concern throughout the
book. The poems of "Girly Man" may be oblique, satiric, or elusive,
but their sense is emphatic. Indeed, Bernstein's poetry performs"
"its ideas so that they can be experienced as well as understood.
A passionate defense of contingency, resistance, and multiplicity,
"Girly Man "is a provocative and aesthetically challenging
collection of radical verse from one of America's most
controversial poets.
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