With Nathaniel Mackey's fifth collection of poems, Nod House, we
witness a confluence of music and meaning unprecedented in American
poetry. Mackey's art continues to push the envelope of what is
possible to map and remap through words in sounds and sounds in
words. Picking up with Nub's disintegration at the end of his
previous collection - the National Book Award-winning Splay Anthem
- we follow a traveler and a tribe of travelers ensconced in myth
and history as Mackey continues to weave his precisely measured
music with two ongoing serial poems, Song of the Andoumboulou and
Mu. The collec- tion is divided into two sections, both titled
"Quag," and it is this double-Quag ("Nub's new colony Quag" or Qraq
or Ouab'da or Quaph . . .) that the tribe is exiled in, worlds
within alternate worlds where names and places are ever-shifting,
and dreamlessness reigns. From the pyramids to the projects, Ivory
Coast to Lone Coast, Lagos to Stick City, amidst chorusing horns
and star-spar lightning, Nod House ("Nub's / new / address")
unfolds as gorgeous eulogy, copla-cuts of deep song, the long
elegiac march of "day after day of the dead."
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