Ulteriori informazioni
"An intimate and kaleidoscopic entry in the Multiverse series that excavates survival, storytelling, and coming to terms with an unruly mind."--
Sommario
What the Poet Has
From the Horns
A Window That Can Neither Open nor Close
Between a Dragonfly & an Osprey: Poetry as a Twelve-Sided Die, or Love Is a Game of Chance
Requiem for Elementary Language Acquisition
[Deliberation #3]
Are We Not Obsidian?
[Deliberation #1]
Variants: A Box of Poems
[Deliberation #2]
The Doubting Disease
Notes from a City Where No One Else Lives
Exposition
Now That I Am Closer to Thirty-Nine than Thirty-Eight, I Have Located a Psychological Evaluation from the Summer I Turned Fifteen
Pop Quiz
Hidden Curriculum
The Cat Has the Keys
No One Knows It
Notes
Acknowledgments
Info autore
Lauren Russell is the author of
A Window That Can Neither Open nor Close;
Descent, winner of the Poetry Society of America’s 2021 Anna Rabinowitz Award; and
What’s Hanging on the Hush. Russell has received fellowships from the National Endowment for the Arts, Cave Canem, and the Wisconsin Institute for Creative Writing, and residencies from Millay Arts, Ucross, Yaddo, and MacDowell, among others. Her work has appeared in the Academy of American Poets’
Poem-a-Day, the
New York Times Magazine,
Brooklyn Rail, and elsewhere. She is an assistant professor in the Writing Seminars at Johns Hopkins and lives in Baltimore with her cats, Cat Jeoffry and Lady Day.
Riassunto
An intimate and kaleidoscopic entry in the Multiverse series that excavates survival, storytelling, and coming to terms with an unruly mind.
In A Window That Can Neither Open nor Close, the stakes of writing are also the stakes of living. “Though I no longer wanted to die,” writes Lauren Russell, “our first years together were not easy … because I also did not want to live.” From this enigmatic in-between, Russell dives into multitudes: cats and questions; compulsion and devotion; narrative and diagnosis; language and loneliness; scrupulosity and stasis; suicidality and love.
Resisting the neurotypical expectation to choose any one answer arising from her explorations, she invites readers to engage: a pop quiz, a twelve-sided die, an abecedarian confession, a box of mirrors, several idiosyncratic diagnostic tools, and a suite of obsidian waiting rooms. Holding binaries in suspense, Russell seamlessly unfolds and enfolds the various operations of language, moving through forms with the restless brilliance of an architect turned ethicist turned collagist turned origamist. And everything, it seems, finds some way to turn back into poetry.
From psychological evaluation to clickbait, Russell transforms the world’s furious search for explanations into open inquiry. “How flat is the silence in your pocket?” she asks. “Is the inside of a wish an ossuary?” “Do questions stick you to the wall of sociability?” “Did I say I am making my own bestiary?” “What kind of cascade is this?” In a book dedicated to knowing, to not-knowing, and to its readers, Russell pulls back the curtain and invites us in.
Prefazione
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