Dawn Lundy Martin's work is neither language poetry, which rejects
the speaking subject, nor strictly lyric, which embraces the
speaking ""I."" It might best be described as poetry where, in the
words of Juliana Spahr, ""the lyric meets language"" - both an
investigation into the opacity of language and the expression of a
passionate speaker who struggles to speak meaningfully.Martin's
poems bend the form into something new, seeking a way to approach
the horrific and its effect on the psyche more fully than might be
possible in the worn groove of the traditional lyric. Her formal
inventiveness is balanced by a firm grounding in bodily experience
and in the amazing capacity of language to expand itself in
Martin's hands. She explodes any pretense at a world where words
mean exactly what we want them to mean and never more nor less. The
poems are neither gentle nor easy, but they make a powerful case
that neither gentleness nor easiness is appropriate in the attempt
to contend with the trauma and violence that are an inescapable
part of human history and human experience. Martin's book
acknowledges the difficulty but not the impossibility of utterance
in trauma's wake, and it ventures into the unimaginable at many
levels, from the personal to the cultural.
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