Carmen Giménez Smith - Böcker

Adding to the Latina tradition, Carmen Giménez Smith, politically aware and feminist-oriented, focuses on general cultural references rather than a sentimental personal narrative. She speaks of sexual politics and family in a fierce, determined tone voracious in its opinions about freedom and responsibility.The author engages in mythology and art history, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the film Annie Get Your Gun, Nabokov’s Lolita, facebook entries and Greek gods, they appear as part of the poet’s cultural critique.Phrases such as “the caustic domain of urchins” and “the gelatin shiver of tea’s surface” take the poems from lyrical images to comic humor to angry, intense commentary. On writing about “downgrading into human,” she says, “Then what? Amorality, osteoporosis and not even a marble estuary for the ages.”Giménez Smith’s poetic arsenal includes rapier-sharp wordplay mixed with humor, at times self-deprecating, at others an ironic comment on the postmodern world, all interwoven with imaginative language of unexpected force and surreal beauty. Revealing a long view of gender issues and civil rights, the author presents a clever, comic perspective. Her poems take the reader to unusual places as she uses rhythm, images, and emotion to reveal the narrator’s personality. Deftly blending a variety of tones and styles, Giménez Smith’s poems offer a daring and evocative look at deep cultural issues.

How does a contemporary woman with a career as a poet, professor, and editor experience motherhood with one small child, another soon to be born, and her own mother suddenly diagnosed with a brain tumour and Alzheimer’s? The dichotomy between life as a mother and life as an artist and professional is a major theme in modern literature because often the two seem irreconcilable. In ‘Bring Down the Little Birds’, Carmen Gimenez Smith faces this seeming irreconcilability head-on, offering a powerful and necessary lyric memoir to shed light on the difficulties—and joys—of being a mother juggling work, art, raising children, pregnancy, and being a daughter to an ailing mother, and, perhaps most important, offering a rigorous and intensely imaginative contemplation on the concept of motherhood as such. Writing in fragmented yet coherent sections, the author shares with us her interior monologue, affording the reader a uniquely honest, insightful, and deeply personal glimpse into a woman’s first and second journeys into motherhood. Gimenez Smith begins ‘Bring Down the Little Birds’ by detailing the relationship with her own mother, from whom her own concept of motherhood originated, a conception the author continually re-evaluates and questions over the course of the book. Combining fragments of thought, daydreams, entries from notebooks both real and imaginary, and real-life experiences, Gimenez Smith interrogates everything involved in becoming and being a mother for both the first and second time, from wondering what her children will one day know about her own “secret life” to meditations on the physical effects of pregnancy as well as the myths, the nostalgia, and the glorification of motherhood. While Gimenez Smith incorporates universal experiences of motherhood that other authors have detailed throughout literature, what separates her book from these many others is that her reflections are captured in a style that establishes an intimacy and immediacy between author and reader through which we come to know the secret life of a mother and are made to question our own conception of what motherhood really means.

Cruel Futures is a witchy confessional and wildly imagistic volume that examines subjects as divergent as Alzheimers, Medusa, mumblecore, and mental illness in sharp-witted, taut poems dense with song. Chronicling life on an endangered planet, in a country on the precipice of profound change compelled by a media machine that produces our realities, the book is a high-energy analysis of popular culture, as well as an exploration of the many social roles that women occupy as mother, daughter, lover, and the resulting struggle to maintain personhood—all in a late capitalist America.Praise for Cruel Futures:"Giménez Smith seeks release from the pressures of societal expectations in this collection of brief yet powerful poems. … Giménez Smith’s crisp lyrics and imagery highlight ever-present threats to female personhood and autonomy."—Publishers Weekly"Cruel Futures is one of those rare books, rare pieces of art, that manages to be extremely intimate, vulnerable and close while also doing a kind of searing cultural critique. The poems can be tender or ironic, and sometimes a blending of the two, which is not easy."—Ross Gay"In the body, through the lyric, and twitching with every sense of the word 'nerve,' this book sings a mongrel nation into and across its cruel futures. Like Neruda in his Plenos Poderes/Full Powers, Giménez Smith has all the mastery she needs to cast a cold eye on her positioning, and ours. In this way Cruel Futures is an autobiography that won't stay in its genre or premise, caring less to author a self than to follow turns of magic in words that might soothe our 'collisions with the living.'"—Farid Matuk"Declamatory anthems to no nation, these songs stride as they deal and wheel with skin and kin: history, catastrophe, the body, love. 'Upturned and defiant, all types of shade, no outskirt, / vital like a saint,' the poems in Cruel Futures shimmer with Giménez Smith’s lyric attention: full of grit, sharp and knowing."—Hoa Nguyen