Matthew Dickman – författare

At the center of Mayakovsky’s Revolver is the suicide of Matthew Dickman’s older brother. “Known for poems of universality of feeling, expressive lyricism of reflection, and heartrending allure” (Major Jackson), Dickman is a powerful poet whose new collection explores how to persevere in the wake of grief.from “Mayakovsky’s Revolver”I keep thinking about the wayblackberries will make the mouthof an eight year old look like he’s a ghostthat’s been shot in the face. In the dark I can seemy older brother walking through the tall brushof his brain. I can see him standingin the lobby of the hotel,alone, crying along with the ice machine.

A dual-authored volume of poems from the multi-award winning Dickman twins - leading voices in America's outstanding generation of younger poets.Although the brothers extol differing inspirations (Matthew writes with the ebullience of Frank O'Hara, Allen Ginsberg and Jack Kerouac, Michael with the control of William Carlos Williams and Emily Dickinson), they are unified by the unflinching, remarkable verse they wrote when their older sibling tragically took his own life. It is these moving, grieving but life-affirming poems that solely comprise this dual-authored volume. Published in an inventive tête-bêche edition, the poems appear head-to-toe, communing in the middle, making Brother a searing but ultimately up-lifting journey of grief, love and family.'Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality . . . together, the resonance of the work is amplified.' New YorkerMatthew Dickman is the author of All-American Poem (2008), 50 American Plays (co-written with his twin brother Michael Dickman, 2012), Mayakovsky's Revolver (2012),Wish You Were Here (2013) and 24 HOURS (2014). He is the recipient of The May Sarton Award from the American Academy of Arts and Sciences, the Kate Tufts Award from Claremont College and a 2015 Guggenheim award. Matthew Dickman is the Poetry Editor of Tin House magazine. He lives in Portland, Oregon.Michael Dickman is the author of three books of poems, The End of the West (2009), Flies (2011, Winner of the James Laughlin Award), and Green Migraine (2015), as well as a book of plays, 50 American Plays, co-written with his twin brother, Matthew Dickman, in 2012. He lives in Princeton, New Jersey, where he is on the faculty at Princeton University.

The multi-award winning Dickman twins are from America's outstanding generation of younger poets. Their poetry lives take different expression. Matthew writes with the ebullience of Frank O'Hara, Allen Ginsberg and Jack Kerouac; Michael with the control of William Carlos Williams and Emily Dickinson. But they are unified by the unflinching, remarkable verse they wrote when their older brother took his own life. It is these moving, grieving but life-affirming poems that solely comprise this dual-authored volume.

At the center of Mayakovsky’s Revolver is the suicide of Matthew Dickman’s older brother. “Known for poems of universality of feeling, expressive lyricism of reflection, and heartrending allure” (Major Jackson), Dickman is a powerful poet whose new collection explores how to persevere in the wake of grief.from “Mayakovsky’s Revolver”I keep thinking about the wayblackberries will make the mouthof an eight year old look like he’s a ghostthat’s been shot in the face. In the dark I can seemy older brother walking through the tall brushof his brain. I can see him standingin the lobby of the hotel,alone, crying along with the ice machine.

"Known for poems of universality of feeling, expressive lyricism of reflection, and heartrending allure" (Major Jackson), award-winning poet Matthew Dickman returns with a collection that engages the traces of his own living past, suffusing these poems with ghosts of longing, shame, and vulnerability. In the southeast Portland neighborhood of Dickman’s youth, parents are out of control and children are in chaos. With grief, anger, and, ultimately, understanding, Dickman confronts a childhood of ambient violence, well-intentioned but warped family relations, confining definitions of identity, and the deprivation of this particular Portland neighborhood in the 1980s. Wonderland reminds us that, while these neighborhoods are filled with guns, skateboards, fights, booze, and heroin, and home to punk rockers, skinheads, poor kids, and single moms, they are also places of innocence and love.