Landscape Portrait Figure Form
Dean Rader
(Author)
Description
A frog and a toad walk into a book of poems. They meet Paul Klee, Hieronymus Bosch, Adrienne Rich, Sesshu Toyo, Mark Twain, all of them escorted by Dean Rader. There are adventure poems, landscapes, assassins, self portraits, there are what some might call "ideas" mixed with some very funny moments, and what we might quite seriously call "emotions." This collection will engage those interested in innovative, arresting, humorously engaging poetry.Product Details
Price
$11.95
Publisher
Omnidawn
Publish Date
February 04, 2014
Pages
41
Dimensions
5.3 X 0.3 X 6.8 inches | 0.15 pounds
Language
English
Type
Paperback
EAN/UPC
9781890650735
BISAC Categories:
Earn by promoting books
Earn money by sharing your favorite books through our Affiliate program.
Become an affiliate
About the Author
DEAN RADER's debut collection of poems, Works & Days, won the 2010 T. S. Eliot Poetry Prize, was a finalist for the Bob Bush Memorial First Book Prize, and won the 2010 Writer's League of Texas Book Award. Recent poems appear in Best American Poetry 2012, Boston Review, TriQuarterly, Ninth Letter, Colorado Review, and Zyzzyva, which is featuring a folio of his poems in their fall 2013 issue. Rader publishes widely in the fields of poetry, American Indian studies, and popular culture. He is chair of the English Department at the University of San Francisco.
Reviews
"Rader articulates what we all know but often overlook: that our obsession with the materiality of text and paint--and frequent appraisal of these media as unfit to adequately represent our lives and experiences--resonates deeply with our anxiety about our own physicality, our own finite and incommensurate bodies. Rader reminds us that, as we seek to construct verbally our essentialized self-portraits, we only acquire new, textual bodies, complete with all the earthly encumbrances and stark inadequacies of the old ones. We remain terrified to "wake out of / the wrong body and walk uncovered / into the mistaken world."--Maggie Millner, ZYZZYVA
Rader articulates what we all know but often overlook: that our obsession with the materiality of text and paint and frequent appraisal of these media as unfit to adequately represent our lives and experiences resonates deeply with our anxiety about our own physicality, our own finite and incommensurate bodies. Rader reminds us that, as we seek to construct verbally our essentialized self-portraits, we only acquire new, textual bodies, complete with all the earthly encumbrances and stark inadequacies of the old ones. We remain terrified to wake out of / the wrong body and walk uncovered / into the mistaken world. Maggie Millner, ZYZZYVA"
-Rader articulates what we all know but often overlook: that our obsession with the materiality of text and paint--and frequent appraisal of these media as unfit to adequately represent our lives and experiences--resonates deeply with our anxiety about our own physicality, our own finite and incommensurate bodies. Rader reminds us that, as we seek to construct verbally our essentialized self-portraits, we only acquire new, textual bodies, complete with all the earthly encumbrances and stark inadequacies of the old ones. We remain terrified to -wake out of / the wrong body and walk uncovered / into the mistaken world.---Maggie Millner, ZYZZYVA
Rader articulates what we all know but often overlook: that our obsession with the materiality of text and paint and frequent appraisal of these media as unfit to adequately represent our lives and experiences resonates deeply with our anxiety about our own physicality, our own finite and incommensurate bodies. Rader reminds us that, as we seek to construct verbally our essentialized self-portraits, we only acquire new, textual bodies, complete with all the earthly encumbrances and stark inadequacies of the old ones. We remain terrified to wake out of / the wrong body and walk uncovered / into the mistaken world. Maggie Millner, ZYZZYVA"
-Rader articulates what we all know but often overlook: that our obsession with the materiality of text and paint--and frequent appraisal of these media as unfit to adequately represent our lives and experiences--resonates deeply with our anxiety about our own physicality, our own finite and incommensurate bodies. Rader reminds us that, as we seek to construct verbally our essentialized self-portraits, we only acquire new, textual bodies, complete with all the earthly encumbrances and stark inadequacies of the old ones. We remain terrified to -wake out of / the wrong body and walk uncovered / into the mistaken world.---Maggie Millner, ZYZZYVA
