Search results for ""Author Sandra Simonds""

Sandra Simonds’s Triptychs is a brilliant intersection of poetic form and the passage of time.Crafted initially in strips handwritten on rolls of receipt paper obtained at a dollar store, then assembled into three textual columns that sit side-by-side on the page, these triptychs are joined or disjoined in several ways—through diction, through the special relation of words (evoking intimacy, touch or, in contrast, alienation), and through thematic similarities or dissimilarities. Each poem is wildly surprising, ranging from conversations between Baudelaire and Jayne Eyre to the enjoyment of macaroons. As a result, the poems energize the confines of this writing space as they invite readers to recall painterly constructions and news headlines, wherein each pillar is in conversation with another, sequentially and simultaneously. With the same lyric attention found in all of Simonds’s poetry, the poems here mark an innovative shift in poetics that is both polyvocal and singular.

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What if all women try to Steal It Back? America, art, life. They're in Sephora, on Twitter, at McDonald's. They're single mothers and teachers, Catholic schoolgirls and martyrs. And they're all stealing it back. Sylvia Plath gets a Malibu beach house. Lady Gaga hatches from an egg of triumph. They're hovering between the tax collectors and the Romantics, between Florida's lakes and every lavish thing in seventeenth-century France. Steal It Back journeys through America's factories, its Bed Bath & Beyonds, and its homes, where desires rise and fall, where they decide what they will fight for and what they will concede. Steal It Back, Sandra Simonds's fourth poetry collection, is a primal scream that we can't help but pay attention to.

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Sandra Simonds’s Triptychs is a brilliant intersection of poetic form and the passage of time.Crafted initially in strips handwritten on rolls of receipt paper obtained at a dollar store, then assembled into three textual columns that sit side-by-side on the page, these triptychs are joined or disjoined in several ways—through diction, through the special relation of words (evoking intimacy, touch or, in contrast, alienation), and through thematic similarities or dissimilarities. Each poem is wildly surprising, ranging from conversations between Baudelaire and Jayne Eyre to the enjoyment of macaroons. As a result, the poems energize the confines of this writing space as they invite readers to recall painterly constructions and news headlines, wherein each pillar is in conversation with another, sequentially and simultaneously. With the same lyric attention found in all of Simonds’s poetry, the poems here mark an innovative shift in poetics that is both polyvocal and singular.

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With breathtaking fervor, Sandra Simonds delivers an extended address to Orlando, which stands as both a city marked by vibrant promises fallen into betrayals and abuses and the specter of a past lover. Developing a series of recurring episodes and detailing an intricate network of relationships entangled in love, pain, anger, and compassion, this book boldly approaches personal trauma and memory in order to better understand the present.

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