C. S. Giscombe – författare

A cross-genre poetry collection that troubles the idea of poetic voice while considering history, biology, the shamanistic, and the shapes of racial memory.  In the final section of Negro Mountain, C. S. Giscombe writes, “Negro Mountain—the summit of which is the highest point in Pennsylvania—is a default, a way among others to think about the Commonwealth.” Named for an “incident” in which a Black man was killed while fighting on the side of white enslavers against Indigenous peoples in the eighteenth century, this mountain has a shadow presence throughout this collection; it appears, often indirectly, in accounts of visions, reimaginings of geography, testimonies about the “natural” world, and speculations and observations about race, sexuality, and monstrosity. These poems address location, but Giscombe—who worked for ten years in central Pennsylvania—understands location to be a practice, the continual “action of situating.”  The book weaves through the ranges of thinking that poetic voice itself might trouble. Addressing a gallery of figures, Giscombe probes their impurities and ambivalences as a way of examining what languages “count” or “don’t count” as poetry. Here, he finds that the idea of poetry is visionary, but also investigatory and exploratory.

Concerned with specific locales in northern Canada named for the 19th-century Jamaican miner and explorer John Robert Giscome, the volume incorporates a variety of historical documents, maps, and dreams, to go "in & further in, " discovering and documenting music, racial dichotomies, sexuality, and the ways in which landscape itself is described.

C. S. Giscombe's "Here" is a long, single poem that takes place in a progression of three settings, three unlikely locations: the edges of the urban south, the edges--just beyond and just within the city--of rural Ohio, and the places where upstate New York forms the border with Canada, "the next country." "Here" is racial in its knowledge and acknowledgment of the great geographic archetype, the journey north; yet the work's nature denies the closure of destination. The poem's interest instead is in statement(s) of situation, in "the path traced by a moving point." First published by Dalkey Archive Press in 1994, now available again.

"[A] major figure in contemporary African American letters." Henry Louis Gates

The several essays that comprise Border Towns chase, worry, and trouble ideas about situation and reference. As a group, the essays’ topics—color, lycanthropy, African-Canadian history, cooking, public transit, etc.—make an unlikely field. But through all its pages the book traces and describes acts of situation; and— for all its werewolves, greengrocers, and paeans to miscegenation and migration—its interest is not in capturing but in “the shape of reference itself.” The title figure of the border town serves as a “beard” for the unassimilable. Border Towns—the book of essays—is perhaps, finally, a book about poetry. (“It often seems to me,” writes the author, “that one of the best uses to which prose can be put is describing poetry.”)

A poet and a book artist take a train across the United States, creating and conversing along the way. Late in the fall of 2017, poet C. S. Giscombe and book artist Judith Margolis boarded an Amtrak train in New York City and, four days later, stepped off another train at the edge of San Francisco Bay. Giscombe was returning home to California to address an all-white audience on the problem of white supremacy, and expatriate Margolis, accustomed to a somewhat solitary existence, was visiting the United States and making collages. Traveling together, they each turned their train quarters into writing and drawing “studios” where they engaged in conversations and arguments and shared experiences of the discomforts and failures of recent times.  Their original intention had been to travel west and document, in journals and sketchpads, the complex, charged American landscape, but as the trip progressed—and in the months afterwards—the project took on a new shape. Train Music, the book that resulted, recollects and explores the century’s racial and gendered conflicts—sometimes sensually, sometimes in stark images, sometimes in a “mixed economy” of poetry and prose.