Readers of new poetry have come to expect a certain amount of
wonder in the work, a certain receptivity (here and there) to the
non-rational, preternatural undercurrents which ordinarily reveal
themselves to us with full force only every now and then. For some,
poetry might even serve, in part, as a conservancy for that
receptivity, a protected place for it to run free beyond the reach
of all the paperwork and chatter. Rumored Animals is one such
place. By turns ecstatic and grief-stricken, Quinn Latimer's
poems-distinctive, audacious, elemental, and unyielding-render the
world with all its strangenesses intact and vitality restored,
asserting the legitimacy of another, more primal vision at odds
with the agreed-upon, one where "mountains / surround us with their
animal / prowl, throw back // their black capes / and are done."
This is a thrilling, defiant, and heartening body of work.
--TIMOTHY DONNELLY QUINN LATIMER was born in Venice, California,
and educated at Sarah Lawrence College and Columbia University's
School of the Arts in New York. Her poems have been featured in
Boston Review, The Last Magazine, The Paris Review, and Prairie
Schooner, among other journals, and have been nominated for a
Pushcart Prize. Recordings or performances of her poems have also
been included in exhibitions at Art Basel Miami Beach; New Jerseyy,
Basel; Galerie J, Geneva; and Kunsthaus Glarus. Latimer lives in
Basel, Switzerland, where she is a regular contributor to Artforum,
Frieze, and numerous artist monographs and critical anthologies.
Rumored Animals, which was awarded the 2010 American Poetry Journal
Book Prize, is her first book. In her debut, Latimer draws on
sources from contemporary photography and art Diane Arbus,
Francesca Woodman, Donald Judd to develop a complex engagement with
constructions of self and prevailing cultural determinations of the
female and feminine. In rich, robust sounds and rhythms, the poet
strives to recognize herself within surface and image ( silver
mirrors of ice, a water pale body miming my own ), attempts to
identify with the object of an outside gaze, figured as the looming
presence of a brutally defining camera, and a discomfort at the
fraught relation between herself as body and represented sign. More
often than not, illusory, elusive reflective surfaces prove
dangerously isolating ( Blue mirrors/ of lakes linger like glittery
apprentices.... In their reflection, I stumble... ) while the poet
s consciousness of being seen and fixed by another is spiked with
mistrust: all borders are defined by/ a body and the water lapping
against it./ Whose hands hold this picture?/ Whose eyes?
Negotiating contradictory urges to conceal and reveal identity,
Latimer allows a quiet refusal to come fully into view. This is an
impressive debut. (Mar.) --Publishers Weekly
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