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The poems in "Paradise for Everyone" transact embrained feeling and
transform, via belief, possibilities of reference. Here, and here,
the person becomes language, and language is an actor fully
fleshed, whose words and bodies name and rearrange the poem's
conditions. The book's sections are organized to suggest movement,
not so much a narrative or progress as a cycling through of events,
of compulsion, vision, desire, ruin, multiplicity. Each poem has an
ongoing urge to self-difference as it dreams, travels, and
exchanges attributes with locales and objects. That urge generates
the intermingling of self and word in this particular paradise,
language here on earth. Lisa Samuels teaches literature, poetic
theory, and creative writing at the University of
Wisconsin-Milwaukee. In addition to poetry, she has published
essays and edited work on modernist and contemporary writers, on
intellectual property issues in the humanities, and on practices of
literary criticism.
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Livestream
Lisa Samuels
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Livestream is digital capture thrown elsewhere, body fluids that
charge being, and planetary liquid flows. Livestream’s
poetry entangles with those phenomena. The poems erupt, stagger,
hold, and reflect as they evoke events and responses distributed
through bodies and ethical borders. How language conjures us, and
how we sense (with) it, is Livestream’s constant ecology.
The photographs are resonators, and witnesses.
'A moment in fast-forward and in fast-reverse, a moment suspended
and dilating, a moment gathering into physical thought, thought
open to the inrush of percepts time orchestrates as feeling and
disperses into a fading mood: a moment's invention of the one who
sees, the one who reads, that one a passenger of the moment, one
among many, or in another's dream that passes through, passes
along. This book is transporting. It thinks into every connective,
with every connective tensed between forward movement and the
desire to stay put and opening. Again, fast and slow, Lisa Samuels
is a poet of time, and we are fortunate to have her time through
this beautiful book.' - John Wilkinson
Poetry. This poetry unhinges the sensible cultural body and
activates other oscillations of the sensible, which chime with acts
of love and political subjects resuturing what are given to be
facts. The poems are verbal machineries of encounter, brain music
in relational life."Lisa Samuels's WILD DIALECTICS forges imaginary
rhythms into speculative anthems. These lyrics of elusive logos
ghost provisional conditions of enduring transience. With stunning
poise, Samuels holds out for holding on to the inherent insistence
of words' translucent pilgrimage."--Charles Bernstein
Gender City is in our skins, in the law, in our names (like Trudi
and Terra), in places like the Barbie Doll Museum, in events like
falling on the sidewalk, being in prison in a city with buildings
made of skin, rupturing murder in language (pure meaning's urge),
considering language as tattoo in a city with mouths that manifest
like a disgorgement in your gender, in the city that has no center
as the tattoo of poetry (the skin under your dress) has no center.
Poetry. TOMORROWLAND is a book-length poem of bodily transit and
colonial forgetting. Its names and events perpetually arrive in a
new world, whose versions here combine promised lands and
historical suicide. Eula moves among these real and imagined
place-times with other symbolic names and unnamed figures, and Jack
plays death. The primary formal note is the interrupted iambic.
"Lisa Samuels' TOMORROWLAND is a guidebook and diary from an
actuality existing among real sea and ships and coastline, history,
and contemporary reflection. There are named 'characters, ' but the
true characters are a colony, a "we" of the newly arrived to this
land. The generous and graceful syntax is a fusing agent for
yesterday, today, and tomorrow. The reader exults in the
accomplishment of the verse"--Alice Notley
Poetry. THE INVENTION OF CULTURE is the third full-length
collection of poems by Lisa Samuels, whose second volume, Paradise
for Everyone, also appeared with Shearsman. The poems in this new
collection mix prosodic syncopation with prose syntax and floating
page space, as though the page were not only paper but also skin,
film, and musical score inscribed by a languaged body tapping out
the news. And there is news here: the strained topicality of the
poems is an index of imaginative vision meeting the world's
insistence that it be experienced. These poems are stories with
many names--parallax histories, present dreams, compound love songs
and dirges--whose inhabitable spatial structures are like event
horizons that mean to let you come back to the world.
Anarchism is Not Enough is a manifesto against systematic thinking,
a difficult book by a famously difficult writer. For the scope of
its critical imagination, it is the most radical work of Laura
Riding's early period. This period extends from the end of 1925,
when she left America for Europe and Robert Graves, to 1939, the
year she returned to America, renounced any further writing of
poetry, and soon after married Schuyler Jackson. Published in 1928,
when Riding was twenty-seven, Anarchism is a kind of early
autobiographia literaria. Long out of print and now available for
the first time in paperback, this is one of the most imaginative
and daring works of literary theory ever written by a modernist
figure. Lisa Samuels's edition sets the work in its historical
context and elucidates its central intellectual difficulties. Her
introduction and notes are a valuable aid to an understanding of
Riding's work.
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