Georgia Review Books – serie

What Persists contains eighteen of the nearly fifty essays on poetry that Judith Kitchen published in The Georgia Review over a twenty-five-year span. Coming at the genre from every possible angle, this celebrated critic discusses work by older and younger poets, most American but some foreign, and many of whom were not yet part of the contemporary canon. Her essays reveal a cultural history from the dismantling of the Berlin Wall, through 9/11 and the Iraq War, and move into today’s political climate. They chronicle personal interests while they also make note of what was happening in contemporary poetry by revealing overall changes of taste, both in content and in the use of craft. Over time, they fashion a comprehensive overview of the contemporary literary scene.At its best, What Persists shows what a wide range of poetry is being written—by women, men, poets who celebrate their ethnicity, poets who show a fierce individualism, poets whose careers have soared, promising poets whose work has all but disappeared.

A Kirkus Best Book of the YearDuring World War II, with apocalypse imminent, a group of well-known Jewish scientists and artists sidestepped despair by challenging themselves to solve some of the most difficult questions posed by our age. Many had just fled Europe. Others were born in the United States to immigrants who had escaped Russia’s pogroms. Alternately celebrated as mavericks and dismissed as eccentrics, they trespassed the boundaries of their own disciplines as the entrance to nations slammed shut behind them.In Stargazing in the Atomic Age, Anne Goldman interweaves personal and intellectual history in exuberant essays that cast new light on these figures and their virtuosic thinking. In lyric, lucent sentences that dance between biography and memoir as they connect innovation in science with achievement in the arts, Goldman yokes the central dramas of the modern age with the brilliant thinking of earlier eras. Here, Einstein plays Mozart to align mathematical principle with the music of the spheres and Rothko paints canvases whose tonalities echo the stark prose of Genesis. Nearby, Bellow evokes the dirt and dazzle of the Chicago streets, while upon the heels of World War II, Chagall illuminates stained glass no less buoyant than the effervescent notes of Gershwin's Rhapsody in Blue. In these essays, Goldman reminds readers that Jewish history offers as many illustrations of accomplishment as of affliction. At the same time, she gestures toward the ways in which experiments in science and art that defy partisanship can offer us inspiration during a newly divisive era.

In Conscientious Thinking, David Bosworth cuts through all the noise of today’s political dysfunction and cultural wars to sound the deeper causes of our discontent. Americans are living, he argues, in a profoundly transitional era, one in which the commonsense beliefs of the first truly modern society are being undermined by the still crude but irreversible forces set loose by technology’s drastic revision of our everyday lives. He shows how this disruptive conflict between modern and post-modern modes of reasoning can be found in all advanced fields, including art, medicine, and science, and then traces its impact on our daily actions through such changes as the ways in which friends relate, money is made, crimes are committed, and mates are chosen.Just as feudal values had to give way to a modern worldview that more effectively contained the new social reality generated by the printed book, so must our democracy reimagine itself in ways that can domesticate—civilize rather than merely “monetize”—a post-modern scene radically transformed by our digital machines. To that end, Conscientious Thinking supplies not only the means to make sense of our contentious times but also a provisional sketch of what a desirable post-modern America might look like.

Hysterical Water is a collection of fierce, funny, feminist poems, prose poems, and essays with poems woven through them, all connected by threads associated with female “hysteria” and motherhood. Hannah Baker Saltmarsh troubles the historic pseudodiagnostic term hysteria as both a constraining mode used to contain and silence women and as a mode that oddly freed women to behave outside the bounds of social norms.The poems in this collection question the way maternal thinking, sexuality, affect, and creativity have been dismissed as hysterical. Saltmarsh reclaims the word hysteria by arguing that women poets might, in art as in life, celebrate incongruous emotional experiences. Drawing on and reshaping an intriguing array of source materials, Saltmarsh borrows from the language of uncontrollable emotion, excess, cure, remedy, and cult-like obsession to give shape not only to the maternal body but also to a hysterical textual one. She revisits selective silence and selective speech in everyday crises of feelings, engages meaningful “anticommunication” through odd gestures and symbols, and indulges in nonsensical dream-speak, among other tactics, to carve a feminist poetics of madness out of the masculinist discourse that has located in the woman the hysteric.

Hong Kong without Us is a decentralized book of revolutionary poetry. Drawn directly from the voices of Hong Kong during its anti-extradition protests, the poems consist of submitted testimonies and found materials—and are all anonymous from end to end, from first speech to translated curation. This collected poetic documentation of protest is thus an authorless work that brings together many voices. The editors themselves are anonymous poets acting through the Bauhinia Project, an organization created to bring Hong Kong’s struggles to the stage of transnational activism through lyric and language, in the same spirit of leaderlessness as the protests. This book is a glimpse into the movement’s lives and voices. The poems here were either submitted as testimonies to the Bauhinia Project at an encrypted email address or collected as “found poems” from testimonies and protest materials on the streets, on social media, and on the news. Each was from an anonymous source in Chinese. They are a people’s poetry: nameless, lowbrow, temporally bound, squeezed out from moments of gravity and strife. They are meant to reach out across the silence of oceans, through differences in language and culture.

With its thirty-three essays, This Impermanent Earth charts the course of the American literary response to the twentieth century’s accumulation of environmental deprivations. Arranged chronologically from 1974 to the present, the works have been culled from The Georgia Review, long considered an important venue for nonfiction among literary magazines published in the United States.The essays range in subject matter from twentieth-century examples of what was then called nature writing, through writing after 2000 that gradually redefines the environment in increasingly human terms, to a more inclusive expansion that considers all human surroundings as material for environmental inquiry. Likewise, the approaches range from formal essays to prose works that reflect the movement toward innovation and experimentation. The collection builds as it progresses; later essays grow from earlier ones. This Impermanent Earth is more than a historical survey of a literary form, however. The Georgia Review’s talented writers and its longtime commitment to the art of editorial practice have produced a collection that is, as one reviewer put it, “incredibly moving, varied, and inspiring.” It is a book that will be as at home in the reading room as in the classroom.

With its thirty-three essays, This Impermanent Earth charts the course of the American literary response to the twentieth century’s accumulation of environmental deprivations. Arranged chronologically from 1974 to the present, the works have been culled from The Georgia Review, long considered an important venue for nonfiction among literary magazines published in the United States.The essays range in subject matter from twentieth-century examples of what was then called nature writing, through writing after 2000 that gradually redefines the environment in increasingly human terms, to a more inclusive expansion that considers all human surroundings as material for environmental inquiry. Likewise, the approaches range from formal essays to prose works that reflect the movement toward innovation and experimentation. The collection builds as it progresses; later essays grow from earlier ones. This Impermanent Earth is more than a historical survey of a literary form, however. The Georgia Review’s talented writers and its longtime commitment to the art of editorial practice have produced a collection that is, as one reviewer put it, “incredibly moving, varied, and inspiring.” It is a book that will be as at home in the reading room as in the classroom.

David Lloyd’s poetry abides in a lineage of poetic modernism, often in dialogue with poets like César Vallejo, Paul Celan, and Mahmoud Darwish. The poems in The Harm Fields are rich in imagery, their language a fluent mix of registers, from colloquial idioms to technical language and literary citation, and replete with multilingual puns and portmanteaux. These poems carry forward the musical values and the questioning project of the modernist lyric, but their concerns are contemporary, haunted by the ongoing brutality of the times, from Ireland to Palestine, and reaching for a language adequate to mourning, persistence, and utopian possibility.

WINNER OF THE 2024 PULITZER PRIZE IN POETRYFinalist for the 2023 National Book Award for PoetryWith Tripas, Brandon Som follows up his award-winning debut with a book of poems built out of a multicultural, multigenerational childhood home, in which he celebrates his Chicana grandmother, who worked nights on the assembly line at Motorola, and his Chinese American father and grandparents, who ran the family corner store. Enacting a cómo se dice poetics, a dialogic poem-making that inventively listens to heritage languages and transcribes family memory, Som participates in a practice of mem(oir), placing each poem’s ear toward a confluence of history, labor, and languages, while also enacting a kind of “telephone” between cultures. Invested in the circuitry and circuitous routes of migration and labor, Som’s lyricism weaves together the narratives of his transnational communities, bringing to light what is overshadowed in the reckless transit of global capitalism and imagining a world otherwise—one attuned to the echo in the hecho, the oracle in the órale.

At Treasure Island, a humanly made island in the San Francisco Bay, a performance troupe dressed in hazmat suits articulate gestures that resemble toxic remediation. As they become more attuned to the site and to its history and ecology, enigmatic presences infiltrate their spacetime. Are they from the past, the present, or the future? What is the significance of their sudden arrival? What happens when historical and geological eras converge? Meanwhile, elsewhere, various earth scientists at sites around the globe search for the “golden spike”: a telltale geologic marker that synchronously indicates a definitive time change in the strata—a change from the Holocene epoch to the Anthropocene. Within their data is Earth’s biography, but how is humanity insinuated within this chronology? Throughout Presence, encounter and contact are the major elements of consequence, action, implication, and resounding significance. Encounter and contact between timeframes, cultures, ecologies, persons, intuitions, ways of living, and worlding. At these junctures are the moments of possibility—of violence and/or of budding community.

At Treasure Island, a humanly made island in the San Francisco Bay, a performance troupe dressed in hazmat suits articulate gestures that resemble toxic remediation. As they become more attuned to the site and to its history and ecology, enigmatic presences infiltrate their spacetime. Are they from the past, the present, or the future? What is the significance of their sudden arrival? What happens when historical and geological eras converge? Meanwhile, elsewhere, various earth scientists at sites around the globe search for the “golden spike”: a telltale geologic marker that synchronously indicates a definitive time change in the strata—a change from the Holocene epoch to the Anthropocene. Within their data is Earth’s biography, but how is humanity insinuated within this chronology? Throughout Presence, encounter and contact are the major elements of consequence, action, implication, and resounding significance. Encounter and contact between timeframes, cultures, ecologies, persons, intuitions, ways of living, and worlding. At these junctures are the moments of possibility—of violence and/or of budding community.

With cue, Siwar Masannat follows up her prize-winning debut with poems that wrestle with intimacy and distance. Departing from love as a force of creation, cue’s intertextual experiments and lyric poems map environmental relations and pose questions about privacy and visibility, love and family, gender, and ecological agency. Masannat responds to artist Akram Zaatari’s excavation of studio portraits by Hashem El Madani. Captured between the 1940s and 1970s in the Lebanese town of Saida, El Madani’s photographs are living artifacts of a transnational modernity. They archive performances of gender and romance that seek to circumvent respectability politics. The private-public, then, emerges as a paradox at the heart of cue’s composition. The desire to commune with and re-transmit the photographs and their stories is accompanied by the speaker’s understanding of how visibility may be coopted and how privacy, at once essential and weaponized, is unevenly enjoyed, opportunistically deployed, and systematically encroached upon.

WINNER OF THE 2024 PULITZER PRIZE IN POETRYFinalist for the 2023 National Book Award for PoetryWith Tripas, Brandon Som follows up his award-winning debut with a book of poems built out of a multicultural, multigenerational childhood home, in which he celebrates his Chicana grandmother, who worked nights on the assembly line at Motorola, and his Chinese American father and grandparents, who ran the family corner store. Enacting a cómo se dice poetics, a dialogic poem-making that inventively listens to heritage languages and transcribes family memory, Som participates in a practice of mem(oir), placing each poem’s ear toward a confluence of history, labor, and languages, while also enacting a kind of “telephone” between cultures. Invested in the circuitry and circuitous routes of migration and labor, Som’s lyricism weaves together the narratives of his transnational communities, bringing to light what is overshadowed in the reckless transit of global capitalism and imagining a world otherwise—one attuned to the echo in the hecho, the oracle in the órale.