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The Room where I was Born
Winner of the 2003 Brittingham Prize in Poetry. Brian Teare's poetry is turning the lyric on its ear, along with the Southern Gothic, the fairy tale, the Old Testament--anything that gets in the way of his powerful voice gets pulled in, chewed up, spit out as a new and frightening (and sexy!) utterance. No one is safe in any of these poems, in any sense of the word. What a brave new voice, livid and gutsy and fresh. --D.A. Powell.
Companion Grasses
What does it mean to dwell in a place? These adventurous poems go on foot in search of answers. Walking the cities, coasts, forests and mountains of Northern California and New England, they immerse themselves in the specifics of bioregion and microclimate, and take special note of the cycle of death and rebirth that plays out dramatically in California's chaparral and grasslands. Inspired by Transcendentalism, Companion Grasses sees the sacred in the workings of the material world, but its indebtedness to the ecological tradition of California poets like Gary Snyder and Brenda Hillman means that it also unearths such evidence in the sensual materiality of words themselves. Both ecologically rich landscapes and highly rhythmic inscapes, these poems set seasonal and human dramas side-by-side, wresting an original, signature music from the meeting of site and sight. In pursuing an aesthetics situated in place, they compose an ethics of what it means to be a human companion to the natural world: "What we love, how we care for it, /is where we live."
Sight Map
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.
Pleasure
Poetry. LGBT Studies. Like Tennyson's In Memoriam, Teare's book sees within a personal loss evidence of an epochal shift at work, a shift at once historical, political, and cosmological. Asserting the lover's body as a lost Eden, revisiting again and again the narrative of "the fall" its iconic imagery as well as Gnostic reinterpretations the book also records the eventual end of mourning and a return to the ecology not of myth but of the literal weather and landscape of California. The book is haunted throughout by the task of "writing the disaster" of AIDS; its lyrics link emergency to inquiry in an attempt to make a memorial "in language sufficient/to pain: not in itself the world: the thought of it."
Plastic
How the autobiography of plastic became the autobiography of all of us
Sight Map
"Remarkable in its range, this book 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. With startling poetic skill, formal profligacy, and emotional daring, the author gives "a series of lessons in how to read / differently ... how to pleasure changed language."--Back cover.
The Empty Form Goes All the Way to Heaven
The typographical experiments of The Empty Form Goes All the Way to Heaven make visible the hidden experience of chronic pain and illness. During uninsured and ineffectual medicalization, Teare turns to the work of writer and abstract artist Agnes Martin, which offers both counsel and consolation when diagnosis fails. Harnessing the power of the grid intrinsic in the typeset page, the resulting poems balance language and silence in visual fields that give shape to somatic knowledge. Rejecting bad care and the false promise of cure, this book reimagines what healing looks like.
Slave Moth
Named by Black Issues as the best poetry book of 2004, this is the astonishing story of a slave girl in the antebellum South. This critically acclaimed verse-novel follows the unforgettable Varl, a slave on a plantation in Tennessee, on her path to freedom. Wise beyond her years and wildly creative, Varl must choose between the only life she's knownher Mamalee, her friends (especially her beloved Dob), the farmland she's explored since childhoodand her growing need for self-determination. Standing in her path, waiting to quash her spirit, is her master, the cunning Peter Perry, "a collector of rare things" who aims to add Varl herself to his perverse assortment of oddities. With Slave Moth, Thylias Moss shows herself yet again to be "a visionary storyteller" (Charles Simic). Written in gorgeous verse, it is an explosion of life in the face of servitude.
A Forest on Many Stems
The Poet's Novel provides a unique entrance to the prose and poetry of many remarkable modern and contemporary poets including: Etel Adnan, Renee Gladman, Langston Hughes, Kevin Killian, Alice Notley, Leslie Scalapino, Jack Spicer, and Jean Toomer, whose approaches to the novel defy conventions of plot, character, setting and action. The contributors, all poets in their own right like, Brian Blanchfield, Brandon Brown, Mónica de la Torre, Cedar Sigo, and C.D. Wright bring a variety of insights, approaches, and writing styles to the subject with creative and often surprising results.
Zong!
A haunting lifeline between archive and memory, law and poetry
