Laurie Sheck

The “exquisite and haunting” (Booklist) number of poems outfitted round the language and mystique of yankee captivity narratives during which Sheck enters the shiny lifestyles we are living within our personal minds and selves, and takes us into the mysterious underside of recognition and selfhood.

From Publishers Weekly
The squat, long-lined poems of Sheck's 5th assortment meditate on American captivity narratives—stories renowned within the past due seventeenth century, comparable to Mary Rowlandson's a story of the Captivity and recovery of Mrs. Mary Rowlandson, usually approximately abduction through local Americans—as metaphors for the constraints of recognition and the poetry that attempts to render it. those narratives are without delay addressed within the 17 "Removes," a time period taken from Rowlandson's e-book. in other places, Sheck (Black sequence) references different singularly American figures, together with Dickinson, Stevens, William James and Emerson. Sheck relishes the "slow conversion of myself into nothingness," an important (and usually violent) step towards figuring out "this chain of emotions through which we suggest (if it's that) a self." those poems now and then appear to court docket vagueness—words reminiscent of "scatter," "broken," and "elsewhere" are between Sheck's so much specified descriptive phrases. a few readers may possibly locate that Sheck exhausts her issues and the time from which they originate; modernity seems to be on occasion, and while it does—in the shape of "a video display candescing," the human genome and one "marketing director"—the impact is jarring. all through, notwithstanding, Sheck's lengthy strains maintain a sublime uncertainty, and her fractured syntax calls either Dickinson and Gerard Manley Hopkins to brain: "The seconds slant and coarse with split-asunder."

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