Floodgate Series Volume 6

Available
Product Details
Price
$16.00  $14.88
Publisher
Etchings Press
Publish Date
Pages
124
Dimensions
5.98 X 0.26 X 9.02 inches | 0.39 pounds
Language
English
Type
Paperback
EAN/UPC
9780998897646
BISAC Categories:

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About the Author
CMarie Fuhrman is the 2019 recipient of the Grace Paley Fellowship at Under the Volcano in Tepotzlán, Mexico, and winner of the Bank's Award for poetry. A 2019 graduate of the University of Idaho's MFA program, she is the Project Coordinator for Indigenous Knowledge for Effective Education Program (IKEEP). Often anthologized, CMarie's poetry and nonfiction have appeared in Yellow Medicine Review, Cutthroat a Journal of the Arts, Whitefish Review, Broadsided Press's NoDAPL compilation, High Desert Journal, Sustainable Play, Taos Journal of Poetry and Art, among many other venues. She currently serves as Poetry Review Editor for Transmotion Journal. CMarie resides in West Central Idaho.
Dexter L. Booth earned an MFA in creative writing from Arizona State University. His poems have appeared in Amendment, Grist, New Delta Review, and Willow Springs. He lives in Tempe, Arizona
Reviews

The sudden loss of the wife/mother for the husband/daughter that occasioned this collaboration is both beyond belief and as real as air. Vanishing Point is a twining of grief, of two strands that are equally strong and, once twined, all the more intense. Although marvelously different poets, there are vertiginous moments when I cannot guess who is speaking. This chapbook-length poem quite literally brings the power of two poets into one singular and astonishing voice.

--Kimiko Hahn, author of Foreign Bodies

The poems in Fuhrman's book are a kind of siphoning of language which results in a fusion of earth, animal, human--a one-ness, beautiful, and also damned. As a poet who hikes and lives in a landscape still wild, she brings us the wild and the broken. The double meaning of the title shows the reader her intent--to both pierce and bond with her words. The first five poems describe both the beauty and mutilation of the beings of water--salmon. "Neither one of us had our second names..." Here is the linkage between the damming of the reservoir and the loss of land--home--death for the persona of the speaker, a native woman. The body of the world, of fish, and of women is shown through exquisite language and a blending of the senses: "her eyes straining to hear..." Then the tonal shift in "The Problem of My Body"--"scars of your scalpels and your slurs"--replicates the damn you implicated throughout these poems. Fuhrman has ordered her book in a spiral, a circling, a nurturing word and world we are meant to read.

--Veronica Golos, author of GIRL

Dexter L. Booth's Rhapsody is not merely an epic tribute to the black people that in recent and preceding years have been doused or dismembered, it's also an examination of how black people harbor and express black trauma, those who cultivate a prideful legacy of inflicting it, and how black trauma and black people are mythologized in every facet of the human imagination. Wedged between these narratives and examinations is a black speaker who outlives them, however admirably, stating, "you wake up / in a village filled with so much smoke / it is all you see for years / your skin / burning like an offering to gods / you cannot hear." Read these poems at whatever pace your heart dictates. Booth ensures for every hurt you feel, you'll also triumph.

--Dustin Pearson, author of A Family is a House