Teeter

"This is such a physical book to read. Kimberly Alidio animates the tendons of utterance and draws my attention to speech as transsubstantive. A vast listener in Teeter is opening us to counter-cartographic experience of place. Oceanic and archipelagic feeling regards the ancestral and the future without any will to claim or circumscribe. I feel ecstatic reading these poems. Deeply in my body, beyond it, the rangy freedom of perceiving, remembering what trace we are of one another."--Kyle Dacuyan

"Across three disjunct long poems, Kimberly Alidio's writing excels at 'tracking flows in listening' and a subtle, subversive weighing of words. Whether as writerly reader, as student of Pangasinan language, or as collaborator-after-the-fact to sound works by Maryanne Amacher, Lea Bertucci, and others--not so distant from Fred Moten's writing 'with' Cecil Taylor--this marvelous book has everything to do with media and modes of interface beyond the book: 'employing all of the training of one's ear, to be a co-presence.'"--David Grubbs

"The sonic realm is this brilliant book's polestar precisely because of its ongoingness and intimacy: a 'pure affirmation that doesn't affirm anything' (Ashbery). A powerful instrument against thought's instrumentalization is voice--both as material inscription and event produced by a body, here in defiance of English's hegemony. A poem's speaker wonders about the possibility of 'thinking & being in some kind of open conspiracy to persist in thinking & being.' Teeter offers an answer, and I couldn't agree more with the interlocutor whose reply is, 'I love poets, I hate celebrities.'"--Mónica de la Torre