| Author: | Matt Rader | ISBN: | 9780771072499 |
| Publisher: | McClelland & Stewart | Publication: | April 5, 2016 |
| Imprint: | McClelland & Stewart | Language: | English |
| Author: | Matt Rader |
| ISBN: | 9780771072499 |
| Publisher: | McClelland & Stewart |
| Publication: | April 5, 2016 |
| Imprint: | McClelland & Stewart |
| Language: | English |
A luminous new collection of poems about entering middle age, living a life of books, and trying to know what it means to be or not be from or of a place.
If pattern is information, and verse the mind's conversation with Time, Matt Rader's Desecrations animates a theatre of silence we recognize as mystery. Building on an already astonishing body of work, in lines so fluid and uncannily resonant they feel cousined to the dream world, Rader insists that intimate moments bear the cargo of both past and future, antiquity and grim projection, ancestry and unborn selves, resulting in poems of kaleidoscopic beauty and strangeness. These singular, musical evocations eschew argument in favour of a welcoming, arms-wide abandon, and an ethics of porousness and connection. By some alchemy of voice, detail, collision, and disobedience to chronology, Desecrations reveals the imagination as a worthy location of real experience. These poems are a new way to orbit around a locus of damage, a new fabric of signs and singing that we can't help but realize we'd been yearning for all along.
A luminous new collection of poems about entering middle age, living a life of books, and trying to know what it means to be or not be from or of a place.
If pattern is information, and verse the mind's conversation with Time, Matt Rader's Desecrations animates a theatre of silence we recognize as mystery. Building on an already astonishing body of work, in lines so fluid and uncannily resonant they feel cousined to the dream world, Rader insists that intimate moments bear the cargo of both past and future, antiquity and grim projection, ancestry and unborn selves, resulting in poems of kaleidoscopic beauty and strangeness. These singular, musical evocations eschew argument in favour of a welcoming, arms-wide abandon, and an ethics of porousness and connection. By some alchemy of voice, detail, collision, and disobedience to chronology, Desecrations reveals the imagination as a worthy location of real experience. These poems are a new way to orbit around a locus of damage, a new fabric of signs and singing that we can't help but realize we'd been yearning for all along.
