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Sight Map: Poems (New California Poetry), by Brian Teare
Fee Download Sight Map: Poems (New California Poetry), by Brian Teare
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In Sight Map Brian Teare blends the speculative poetics of the San Francisco Renaissance with a postconfessional candor to embody the "open field" tradition of such poets as Robin Blaser and Robert Duncan. Teare provides us with poems that insist on the simultaneous physical embodiment of tactile pleasure—that which is found in the textures of thought and language—as well as the action of syntax. Partly informed by an ecological imagination that leads him back to Emerson and Thoreau, Teare's method and fragmented style are nevertheless up to the moment. Remarkable in its range, Sight Map serves at once as a cross-country travelogue, a pilgrim's gnostic progress, an improvised field guide, and a postmodern "pillowbook," recording the erotic conflation of lover and beloved, deity and doubter.
- Sales Rank: #2328733 in Books
- Published on: 2009-03-02
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .38" w x 6.00" l, .30 pounds
- Binding: Paperback
- 96 pages
Review
"One of the best poetry books I've read in many years. This volume leaves you breathless with its force of method and style--a ravishing field guide that takes the love poem to entirely new terrain."--"Minneapolis City Pages"
"[It] leaves a reader awestruck. The volume encourages hope that a new poetry can emerge from the rubble of postmodernism. . . . The book becomes a guidebook to the past and present sources that contemporary poets have to sift through, an excavation and re-forming of our roots."--"Rumpus"
"Pleasure, sonic, linguistic, natural, sexual, and sinful fill this book. Read it for this. Take pleasure in [these] poems."--Charles Malone"The Colorado Review" (06/17/2011)
Pleasure, sonic, linguistic, natural, sexual, and sinful fill this book. Read it for this. Take pleasure in [these] poems. --Charles Malone"The Colorado Review" (06/17/2011)"
From the Inside Flap
“Brian Teare's poetry is turning the lyric on its ear. . . . What a brave new voice, livid and gutsy and fresh.”—D. A. Powell, author of Tea and Lunch
“At the heart of this ravishing book about seeing is a distrust of the visionary. Brian Teare engages in a transgressive surveillance of soul and language, love and faith, matter and the immaterial, and the linkages among them. The result is poetry that is formally daring, capacious in eye and mind. These poems are splendid and dirty prayers, fierce accomplishments in our disorienting times.”—Rick Barot, author of Want
“In these formally precise poems, Brian Teare explores the distances between the lover and the beloved, between the image and the word, between God and prayer, between the seen and unseen. By turns lyric and stuttered, and in many cases spoken from a Cartesian epistemological ground zero, these poems reach with urgency and passion toward a knowledge both impossible and necessary—and therein lies their deep humanness. This is a stunning and complex book.”—Jane Mead, author of The Usable Field
“If it is the human condition to leave the 'mind / unanswered,' then Brian Teare knows how to make solace from the erotic textures of both doubt and its ensouled cousin: the unknowing we experience as wonder. Teare redefines transcendence in these complexly melodic poems so that 'poised at / the lip of spillage, each image trembles as it's written.' Here language is the consummate lover: lush, tactile, lithe, and responsive. The interchange between poet and lover, utterance and uncertainty is a confession: 'I desire / something / neither received nor seen.' The fractured world nurtures a mystery so compelling that it makes 'each mind to itself creation come crawling / matter out of nothing.'”—Elizabeth Robinson, author of The Orphan and Its Relations
About the Author
Brian Teare is the author of the award-winning The Room Where I Was Born, as well as the forthcoming volume Pleasure and two chapbooks. He has received Stegner, National Endowment for the Arts, and MacDowell Colony poetry fellowships.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Beneath every love poem there lies a dishonesty
By Kent Shaw
Beneath every love poem there lies dishonesty. Love is never like what the poem said. And how would that poet know? My love was different. And I know True Love is different than that. And Mature Love is another thing entirely. The problem with love poetry is that love is too complicated to be nailed down by one poem. Love is wily and many-legged. Have you ever met Desire? It's cruel. Sometimes it's elusive. For that matter, everything about Love Relations usually stays pretty aloof. It reorders itself at will. And, poor poets, everything about love is being constantly rediscovered. No one sees this when they're in love, but when you're rediscovering love it's just like when you're first discovering it. And everyone's said that before. So why write love poems?
Unless you're Brian Teare's Sight Map, because these poems understand love like the book was underneath it all along. Love changes. Love inhabits us. And trying to explain this habitation is where Teare's book pulls away from the most common tropes used to explain love. For Teare, language literally rearranges in the first section. It's like when our desire for love is rearranged into being loved at that moment of consummation. I really can't celebrate this part of Teare's book enough. Read through "Emerson's Susquehanna" and "To Be Two," and when you come to the third section of "To Be Two," just listen. Lines from the poems before get reordered into this lyrically fluid tenderness. In fact, the recognition that this poem is from the poems coming before it is actually a sensual experience. I feel this poem and the warmth inside it.
If only love could always inhabit us like that. But what's a book about love if it's not fraught by desire? Love may be an ecstasy of togetherness, but inevitably there will have to be loneliness. And for Teare, loneliness is intimate and textured and repetition and remembering. And most of all it is landscape, and that peculiarly sharpened experience of a landscape when we suffer desire. For my reading, I focus again on the moment when a poem notices its own existence as an issue to composing more of the poem. "Sanctuary, Its Roots Sanctus" proposes a lake, but no more. Meaning a lake can't be more than a lake. And, as is usual with poetry, this resistance to meaning is exactly what cues us to see beyond the lake to the metaphorical action the lake represents. But Teare is obstinate with his resistance. He not only tells the reader, "I would like to keep it / here--the lake and its description-- / before it becomes metaphor." He repeats the description of the lake verbatim. The waves that sound like the short vowel sound of an i. The surface of the lake "nova'd" white. He repeats with the same phrasing. And then he blends this repetition into the poem as though he's rearranging a collage. The result is that same sensuality from "To Be Two." But where "To Be Two" gave you that heat of romance, now Teare puts you inside his reluctance. "Please don't let me remember." the poem says.
Teare draws the tension tight. He denies and indulges at once. It's quite possibly the truest exercise inhabiting Sight Map. It is like a shaded light that burns brighter at the edge of the shade, giving evidence of the full lumination beneath.
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