Cutting the Wire

Photographs and Poetry from the US-Mexico Border

Nonfiction, Art & Architecture, Photography, Fiction & Literature, Poetry
Cover of the book Cutting the Wire by Bruce Berman, Ray Gonzalez, Lawrence Welsh, University of New Mexico Press
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Author: Bruce Berman, Ray Gonzalez, Lawrence Welsh ISBN: 9780826359018
Publisher: University of New Mexico Press Publication: October 15, 2018
Imprint: University of New Mexico Press Language: English
Author: Bruce Berman, Ray Gonzalez, Lawrence Welsh
ISBN: 9780826359018
Publisher: University of New Mexico Press
Publication: October 15, 2018
Imprint: University of New Mexico Press
Language: English

Cutting the Wire, a masterful collaboration between photographer Bruce Berman and poets Ray Gonzalez and Lawrence Welsh, offers us a way to look again, to really look, at the border between Mexico and the United States. Berman, who has photographed and lived in El Paso for decades, is a documentarian who uses his camera to record what’s in front of him rather than for, as he puts it, “mere self-expression.” Berman’s visual investigations of the everyday realities of the border—detention centers, smeltertown cemeteries, kids playing along a river levee, descanso crosses on telephone poles for the disappeared—are exactly the stuff the poetry of Gonzalez and Welsh is made of. The multilayered histories of the border landscape provide an inexhaustible supply of rich and fertile raw material for both Gonzalez and Welsh. But their poetic visions allow them to capture elements of a personal and collective past that historians have often failed to record.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Cutting the Wire, a masterful collaboration between photographer Bruce Berman and poets Ray Gonzalez and Lawrence Welsh, offers us a way to look again, to really look, at the border between Mexico and the United States. Berman, who has photographed and lived in El Paso for decades, is a documentarian who uses his camera to record what’s in front of him rather than for, as he puts it, “mere self-expression.” Berman’s visual investigations of the everyday realities of the border—detention centers, smeltertown cemeteries, kids playing along a river levee, descanso crosses on telephone poles for the disappeared—are exactly the stuff the poetry of Gonzalez and Welsh is made of. The multilayered histories of the border landscape provide an inexhaustible supply of rich and fertile raw material for both Gonzalez and Welsh. But their poetic visions allow them to capture elements of a personal and collective past that historians have often failed to record.

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