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Emporium
Aditi Machado's lush poetic investigation of transnational and trans-lingual modes which received the 2019 James Laughlin Award from the Academy of American Poets.
Now
To be "in the middle of the thing" tending the present in the embodiment of a "last human"/ "last humus" is the paradox and tension in which Aditi Machado's long poem Now dwells. The poem's addressee, an 'you', sinks into a direction and poise that is both ancient and newly created. Lit by lamps and computer screens, and alert to "the green vein of life," this poem feels elegiac, but it also unravels as a voyage. When will this last 'now' cease? In its course, will this human know what instructions to heed? The 'you' is both caregiver and inflictor of harm - gardener and polluter. Yet, the exuberant fertility of the world does not halt. All surroundings speak and send feedback. The human remains in the 'now' moving toward an unmarked timelessness - a temporal uncertainty. And yet, the logic of nowness will not capture the end, Machado suggests. It is found in movement and arrives by way of prow.
Material Witness
A series of meditative long poems that ritualize perception as a way of maintaining kinship with the non-human world. In Material Witness, the poet as human subject keeps vigil over the material world as the quotidian unfolds. The line between observer and observed blurs as non-human agency reveals itself, its own kind of witnessing. In her long poem "Concerning Matters Culinary" inspired by the first Latin cookbook, Machado activates the living matter of gustatory life with wry humor and subtle critique. Encouraging us to eschew nostalgia for deep presence, Machado's poems remind us that "experience is phenomenal in its segues."
Some Beheadings
A stunning debut collection that examines the geophilosophy of lyric poetry
The End
Literary Nonfiction. Poet, translator, and educator Aditi Machado's THE END is an essay about the ends of poems and the ends of time. Through close readings of a range of poets and thinkers (including Rainer Maria Rilke, Emily Dickinson, and Lyn Hejinian), an interrogation of the received aesthetics of US writing workshops, and reflections on her own poetic practice, Machado examines notions of epiphany, closure, excess, and economy.
Prosopopoeia
Poetry. Middle Eastern Studies. LGBTQIA Studies. Translated from the French by Aditi Machado. "In lines so lush they verge on grotesque, the body and its beauty are rendered by Farid Tali. As 'render' means to depict but also separate flesh from its bone, so too does this elegiac novel dismantle the barriers of memory, romanticism, and predetermination to illuminate the ragged beauty of a body in transition out of itself and into what is void. Is death beautiful? If beauty rages, shocks, evanesces, then it must be. Aditi Machado makes a stark, dark French into tight, lean English, taut as a string that when plucked must sing. A brief novel that only seems to drift lightly like a musical air; in reality it will settle down heavy in your bones and haunt you a long, long time." --Kazim Ali "Out of the decaying body, Farid Tali has wrought song. Every sentence surprises, adding up to an exquisite book unlike any other." --Maggie Nelson "PROSOPOPOEIA reverberates with a sadness that is quiet, detached and stark...Here, Tali transforms the violent excess of his earlier ruminations into a more fully realized testament to the human body." --Abby Burns
Neon in Daylight
A New York Times Book Review Editors' Choice "A radiant first novel. . . . [Neon in Daylight] has antecedents in the great novels of the 1970s: Renata Adler’s Speedboat, Elizabeth Hardwick’s Sleepless Nights, Joan Didion’s Play It as It Lays. . . . Precision—of observation, of language—is Hoby’s gift. Her sentences are sleek and tailored. Language molds snugly to thought." —Parul Sehgal, The New York Times New York City in 2012, the sweltering summer before Hurricane Sandy hits. Kate, a young woman newly arrived from England, is staying in a Manhattan apartment while she tries to figure out her future. She has two unfortunate responsibilities during her time in America: to make...
I Always Carry My Bones
"Home is a complex ideation for many POC and migrant peoples. I Always Carry My Bones explores how familial history echoes inside a person and the ghosts of lineage dwell in a body. Sometimes we haunt. Sometimes we are the haunted. Pierced by an estranged relationship to Mexican culture, the ethereal ache of an unknown father, the weight of racism and poverty in this country, the indentations of abuse, and a mind/physicality affected by doubt, these poems root in the search for belonging-a belonging inside and outside the flesh. Space-making requires a clawing at the atrocities of today's social injustices. Space-making requires a dismantling of violent systems against brown and black bodies...
Outside Voices, Please
Literary Nonfiction. "In OUTSIDE VOICES, PLEASE, Hsiung orchestrates a symphony of voices past, present, and prescient: time (and with it, history) compresses and expands, yielding long poetry sequences reminiscent of Myung Mi Kim's sonic terrains and C.D. Wright's documentary poetics."--Diana Khoi Nguyen "In this shifting assemblage of verse, prose poems, scenes, performance scores, charts and maps... Hsiung's speaker emerges through clashes of language and its structures--its traumatized syntax, its colonialist dictionaries, its abusive evasions, its obfuscating corporate speak, its xenophobia and its patriarchalism, and its capacity to scorch and dazzle. Out of the urgent "confrontation o...
