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JENNY BOULLY
not merely because of the unknown that was stalking toward them
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For The Book of Beginnings and Endings: Passionate sensitivity of the kind that makes us fear for our adolescent children. Its absence in our own lives may well make our children fear for us as well. ( Los Angeles Times) Jenny is the future of nonfiction in America. What an absurdly arrogant statement to make. I make it anyway. Watch. ( John D'Agata) The binding is neither genre nor gender but eros itself, both of the physical variety and the type that caresses the noun and its attendants. Anne Carson comes to mind. But so does Lawrence Durrell, because cerebral as the book is, it is often winkingly so, and if not the overlay, the interior is sensual. ( C. D. Wright) Yes, Aristotle, there can be pleasure without 'complete and unified action with a beginning, middle, and end." She uses form in a way that undercuts our every expectation based on previous encounters with prose. ( Mary Jo Bang)
For [One Love Affair]*: Nominated for five awards, winner of two—B est Book of New Poetry Published in 2006, and Best Second Book— Coldfront Magazine. A genre-bending back-pocket book.... gritty and intellectual ... addictive and soothing ... fitting for just about anyone’s bookshelf. . . . You’re reading the book for second, third, and fourth time. ( Coldfront) Her fresh style challenges the ways in which we construct narratives and read texts . . . and ultimately leaves us wanting more, more, always more Boully. ( Matrix) Boully’s fluid, lyrical writing makes what could be a difficult, intimidating read instead a delightful one.... Playful engagement with narrative levels of reality (poems within poems, stories within stories). I highly recommend it, especially if you’re looking for a way into the “trans-genre” of prose poetry. ( Open Letters Monthly)
For The Body: An Essay: From the most minute particulars of intimate confession to the long history of literary forms, from the body of the lover to the body of the text, note for note, Jenny Boully's The Body: An Essay documents and destroys in equal measure. ( Craig Dworkin) A strange and magical performance. It resembles a novella overheard through a keyhole, or a nouvelle vague film beheld through a plume of Babylonian smoke. Jenny Boully's mini-epic makes its statement quietly, and with a devilish, terraced charm, like a Derridean outburst turned into topiary. ( Wayne Koestenbaum) A courageous and thoughtful new voice in literature. ( Jacket)
ABOUT JENNY BOULLY
Jenny Boully is the author of The Book of Beginnings and Endings (Sarabande, 2007), [one love affair]* (Tarpaulin Sky Press, 2006), The Body: An Essay (Essay Press, 2007 and Slope Editions, 2002), and the chapbook Moveable Types (Noemi Press, 2007). Her work has been anthologized in The Next American Essay, The Best American Poetry, Language for a New Century, and Great American Prose Poems. Born in Thailand and reared in Texas, she teaches nonfiction and poetry at Columbia College Chicago.
Today's post does not necessarily reflect the views of Tarpaulin Sky Press authors or staff, with the exception of TSky Press publisher, Christian Peet.
That said, and switching now to the first-person while noting the 100th Anniversary of International Women's Day, I'd like to dedicate this post to one particular woman, my friend Rahna Reiko Rizzuto, whose (small(ish)-press!) memoir, Hiroshima in the Morning, is a National Book Critics Circle Award Finalist this year.
Sadly, Reiko's book, the book's nomination, and indeed most of the book's content has been overshadowed by media attention to one particular element of Reiko's story: how she's raised her children. Though slightly more balanced in a recent appearance on The Gayle King Show, Reiko's recent appearances on The Today Show and in articles at Salon and Shine have spawned a "discussion" (attack) that focuses solely on Reiko's "unorthodox" parenting of her two boys--boys who, in a recent visit to my house, seemed blissfully unaware of the suffering that some 15, 000 people at Shine alone desperately want to believe they have endured as a result of Reiko not only leaving them with Dad for six months(!), once(!), on a research grant(!), but also moving down the street from them(!), rather than in their home with her ex-husband(!)
The Nation has published a feature on Tarpaulin Sky Press author Joanna Ruocco, including a great review of Man's Companions, as well as a look at her fab novel from Ellipsis Press, Mothering Coven.
Also revealed is Joanna's once-secret nom de guerre. . . .
Says David Carroll Simon, of Ruocco and Man's Companions:
Ruocco delivers something stranger than banal moralizing. In the final paragraph, she steers the narrative into foreign territory, and the weirdness of her conclusion is doubled by her ability to meet and then flout expectations with a single gesture, offering up the anticipated feminist insights in the least predictable fashion. . . . Ruocco restores the power of a familiar critique by rendering it uncanny. . . . When you read her stories, you find yourself warped from one world to another, transported by the flight of her words between languages. Click for the full article in The Nation
Read more about Joanna Ruocco and Man's Companions, or take a peek, below:
Joanna Ruocco
Man's Companions
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Johannes Goransson's Entrance to a colonial pageant in which we all begin to intricate is reviewed at HTML Giant, thanks to Ryan Downey
"A hybrid form somewhere between or among the categories of poetry, prose, essay, theatre production, and instruction manual. . . . There is much in the absolute inability of this production to be realized in physical terms and space which leads us to see a relationship to an Artaudian Theatre of Cruelty being played out. There are masks and intricate costumes aplenty, from the infamous sacks worn by Guantanamo detainees seen in the earlier passage being worn by THE PASSENGER, to the recurring “Pussy” costume fabricated “from Charlotte Bronte’s gauzes”(42). There are dresses made from looted items, prison-style clothes, black and polished bodies, cowboy costumes, skins charred from suicide bombings, heaps of dead horses, birds bursting from bodies, wounds, basketball jerseys on androgynous children, kissing faces and murder victims, exoskeletons, audience members in whiteface, and many more get ups. The costumes sometimes act/exist as characters in and of themselves, and sometimes they are affixed to bodies which are keen on morphing and wrecking any attempt at stability or a false sense of character development. What develops is the spectacle. It is a pile up of sequined things and fleshy things. . . . The audience is often implicated. After all, torture and interrogation is not borne out of individual will and action alone. . . . All aboard."
Click here for the full review
Click the following link for more information about Johannes Goransson's Entrance to a colonial pageant in which we all begin to intricate
Entrance special pre-publication price:
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Drew Krewer at Mars Poetica reviews Johannes Goransson's Entrance to a colonial pageant in which we all begin to intricate
Says Krewer: "The culture in which the drama is set is one with a notable amount of xenophobia. The Passenger undergoes a mandatory cerebral operation, assisted by a nurse who perceives this passenger as a threat to children and society as a whole. This is a terrifying world we have entered, one that might be likened to a frenzied America souped-up with steroids, LSD, and the rhetoric of fear. . . . Göransson’s prose is obsessive, feverish; it feels as if there is simultaneously an overwhelming joy and a keen aversion that animates his descent into the language inhabited by the characters. This pageant is ultimately redemptive—in a world where much is hidden and persecuted, all parties involved are catapulted into a liminal state that requires a confrontation of the concealed/uncanny. Instead of accepting the paternal law as such, we must create our own, while allowing for a multiplicity of laws to flourish and coexist."
Click here for the full review
Click the following link for more information about Johannes Goransson's Entrance to a colonial pageant in which we all begin to intricate
Elizabeth Hildreth at BookSlut interviews TSky Press author Kim Gek Lin Short ( The Bugging Watch and Other Exhibits, 2010; China Cowboy, forthcoming, 2011), discussing "among other things, the David Bowie Method, poems who wear cheap prose wigs, establishing a sort of cahoots with the villain, hallucinating Clint Eastwood (musical accompaniment and all), chafing against the words “strange” and “experimental,” and being considered the 2010 poetry It Girl."
Andrew Zornoza’s Where I Stay is reviewed by Francis Raven at Gently Read Literature
Quoth the Raven: "The story is told through the interplay of three parts (each of which appears on each pair of opened pages): prose poems titled by date and place, photographs presumably from those places, and quasi captions that sometimes throw the reading off the author’s trail. It is the intuitive (not necessarily logical, but always intriguing) interplay between these elements that keeps the reader’s attention and forces a place to emerge, a place that is perhaps equivalent with a narrative, but one that cannot be pinned to the ground."
Click here for the full review
Also visit the webpage for Andrew Zornoza’s Where I Stay or check out some excerpts, below.
Necropastoral is infecting, politicizing, Plath-ing out, getting loveydovey, going post-human, getting documented in the Cahiers, showing up in The Simpsons and in class, and terrorizing children.
The Collected Songs of Cactus Cooler is an (in-progress) exhibition of the Collected Songs of Cactus Cooler, the ghost of a youth, who roamed the northeastern states during the 1990s. All songs were improvised and recorded between 1996 and 1998, in Connecticut, Maine and New York. Cactus Cooler was the nom de guerre of artist and writer [and TSky Press author] Brandon Shimoda, and owed a life debt to close friends and fellow artists Eskimo Ron, Joey Blister (a.k.a. Joey Bluesplosion) and Seatbelt. You can also watch a film of Cactus Cooler's "Wrong Things" by TSky contributor Zachary Schomburg.
Evening will come, edited by TSky Press author Joshua Marie Wilkinson, is already in its third issue, which is new as of today, 1 March 2011, and features "This wor(l)d as an illusion" from Tsering Wangmo Dhompa, "Seven journal/notebook entries" from Lisa Fishman, and an interview with Hoa Nguyen. January and February issues include TSky editor Laynie Browne, C.D. Wright, Nathanaël, and Tyrone Williams.
The ever-stunning, if poor, Poor Claudia has published a dual chapbook, Digital Macrame / On Happier Lawns, from Paige Taggert and TSky peep Justin Marks. Hand-sewn do-si-do style, with hand-cut linen covers, Digital Macrame / On Happier Lawns comes in a numbered edition of one hundred and seventy five copies. Buy one, or be as bold as we are, and just subscribe to everything Poor Claudia makes for a year, for only $30. Do it. Do it for poor, Poor Claudia. Do it because they make freakin gorgeous books that don't even require electricity. You'll like them even more by candlelight.
Edited by TSky peeps Adam Clay and Matthew Henriksen, Typo #15 is live and not only features new work from TSky Press author G.C. Waldrep, Paige Ackerson-Kieley, Alex Lemon, Catherine Wagner--but also offers said work as four stunning broadsides made by artist Jeffrey Winkelmann Evergreen. We just bought two of them. Can you guess whose? We'll never tell.
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