Reader's familiar with Thomas Lux's quick-witted images
("Language without simile is like a lung/ without air") and his
rambunctious, Cirque-Du-Soleil-like imagination ("The
Under-Appreciated Pontooniers") will find in his new collection,
"Child Made of Sand," not only the signature funny, provocative,
and poignant super-surrealism that has made him, along with Charles
Simic, James Tate, and Dean Young, one of America's most inventive
and humane poets, but they will also find in a surprising series of
homages, elegies, rants, and autobiographical poems a new register
of language in which time and mortality echo and reverberate in
quieter notes. In "West Shining Tree," we can hear this shift in
register when he asks: "I'll head dead West and ask of all I see: /
Which is the way, the long or the short way, / to the West Shining
Tree?"
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