Cadaver, Speak
-
- USD 10.99
-
- USD 10.99
Descripción editorial
Honored by Library Journal as an "Amazing Poetry Title"
“Extraordinary how in a single poem from 2013 Kingsley Tufts Poetry Award winner Boruch slides 1800s London barber-surgeons and the dissection of murderers only (condemned to hell anyway) to the observation, ‘Future or past, it’s all we ever think about.’ The first part of this sharp, surprising book captures our inescapable but slippery physicality in the world, the second the breakdown of the cadaver of a 99-year-old woman—told from her perspective, rather jauntily.”—Library Journal
“Boruch displays a quietly gymnastic intellect in the examinations of art, the body, and the human condition."—American Poets
"Marianne Boruch's work has the wonderful, commanding power of true attention: she sees and considers with intensity."—The Washington Post
"Some books begin as a dare to the self," notes poet Marianne Boruch. Inspired by life-study drawing classes and direct work in a cadaver lab, Boruch's latest book looks at what the body holds, and examines living through bodies deceased.
Marianne Boruch is the author of seven collections of poetry including The Book of Hours (Copper Canyon Press), two volumes of essays, and a memoir. In 2013 she won the Kingsley Tufts Poetry Award. She lives in West Lafayette, Indiana.
PUBLISHERS WEEKLY
Born out of a gross anatomy course, the title poem of Boruch's eighth collection (after The Book of Hours) is a 30-part sequence in the voice of the 99-year-old woman whose body was dissected in the class: "The body before they opened me the darkest dark// must live in there. Where color is wasted./ Because I hear them look:/ bright green of gallbladder, shocked yellow fat." Boruch's broad attention, intelligence, and imagination manage questions of death, physicality, and the transactions of knowledge both within the lab and across history. Every moment is charged with multiple meanings narrative, scientific, epistemological, ontological as the deceased speaker references her own life and death, comments on dissection techniques, explores anatomical formalities, and ponders the clinical and social negotiations of the medical students ("The way one of them,// I'm sorry to me/ when her knife flashes wrong."). Equally concerned with mortality and meaning, the collection's other poems are contained lyric meditations anchored in the real and specific. Boruch tracks the mind through King Tut's tomb, natural disasters, body hair, artworks, and beyond, always as invested in knowledge as in its limits: "No human is ancient enough to grow wings. No human/ remembers enough for the long antennae to know/ what eternal is, meaning brief, meaning/ only this one time."
