Description

Book Synopsis
Announcing the newest winner of the oldest annual literary prize in the United States

Trade Review
“[Corral] seamlessly blends English and Spanish in Slow Lightning.”—Craig Morgan Teicher, Publishers Weekly

Winner of the 2011 Whiting Writers Award, as given by the Whiting Foundation

Finalist for the 2012 Publishing Triangle Thom Gunn Award for Gay Poetry

Honorable Mention, Poetry category at the 2013 New York Book Festival sponsored by JM Northern Media LLC

“[W]e can make of what would blind us a conduit for changed vision, suggests Corral. In these poems, a cage implies all the rest that lies outside it; any frame frames a window through which to see other possibilities unfolding. . . . Like Hayden, Corral resists reductivism. Gay, Chicano, ‘Illegal-American,’ that’s all just language, and part of Corral’s point is that language, like sex, is fluid and dangerous and thrilling, now a cage, now a window out. In Corral’s refusal to think in reductive terms lies his great authority. His refusal to entirely trust authority wins my trust as a reader.”—Carl Phillips, from the Foreword

Slow lightning Yale series of younger poets 106

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    £999.99

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    A Paperback by Eduardo C. Corral

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      View other formats and editions of Slow lightning Yale series of younger poets 106 by Eduardo C. Corral

      Publisher: Yale University Press
      Publication Date: 4/3/2012 12:00:00 AM
      ISBN13: 9780300178937, 978-0300178937
      ISBN10: 030017893X

      Description

      Book Synopsis
      Announcing the newest winner of the oldest annual literary prize in the United States

      Trade Review
      “[Corral] seamlessly blends English and Spanish in Slow Lightning.”—Craig Morgan Teicher, Publishers Weekly

      Winner of the 2011 Whiting Writers Award, as given by the Whiting Foundation

      Finalist for the 2012 Publishing Triangle Thom Gunn Award for Gay Poetry

      Honorable Mention, Poetry category at the 2013 New York Book Festival sponsored by JM Northern Media LLC

      “[W]e can make of what would blind us a conduit for changed vision, suggests Corral. In these poems, a cage implies all the rest that lies outside it; any frame frames a window through which to see other possibilities unfolding. . . . Like Hayden, Corral resists reductivism. Gay, Chicano, ‘Illegal-American,’ that’s all just language, and part of Corral’s point is that language, like sex, is fluid and dangerous and thrilling, now a cage, now a window out. In Corral’s refusal to think in reductive terms lies his great authority. His refusal to entirely trust authority wins my trust as a reader.”—Carl Phillips, from the Foreword

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