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I Take Thee, English, for My Beloved
Poetry. Memoir. Asian American Studies. With I TAKE THEE, ENGLISH, FOR MY BELOVED, Eileen R. Tabios melds the forms of poem, memoir, art monograph, play, novel and questionnaire to affirm that the poet not only speaks English, but she loves English. From her love, she crafts poems denoting a unique vision, as well as other writings that transcend inherited literary forms. This collection ends with a close reading by Ron Silliman of one of Tabios' poems through which he concludes, "Tabios tries for more in one page than many other poets would attempt in 20. And she pulls it off."
Invent Story
Poetry. Asian & Asian American Studies. "There are so many paths thru the enchanted forest that is Eileen Tabios' oeuvre that no one can possibly take them all in one lifetime. So it is with something approaching glee that I find here a completely unexpected one: a mid- career 'selected' constructed around her recurring use of the list / catalogue-form. Did I say the list-form? No, pluralize that, and prepare to encounter an entire ecosystem of catalogues and lists. And don't for a minute let this lead you to think that this is a book of 'weak conceptualism', not that there's anything wrong with weakness (in the sense of an antifoundationalism), nor with conceptualism, because there's not. Think rather that you are encountering poetry, sans qualifiers; prepare to read; and (quoting Perec quoting Verne) 'Look with all your eyes, look'. This is the real stuff." John Bloomberg- Rissman"
The Great American Novel
With The Great American Novel: Selected Visual Poetry (2001-2019), Eileen Tabios not only presents 19 years of her forays into visual poetry, but takes the reader on an extremely personal journey of exploration of cultural identity, the ramifications of colonialism, the functions of language and the possibilities of connectivity in love and pain where each poem acts as a poignant marker along the way. Each sequence in this collection vastly differs--from asemic chance operations composed of Tabios's plucked white hairs let fall into place (recalling how Duchamp composed 3 Standard Stoppages) to a description of each poem-object in a destroyed mail art correspondence of sculptural visual poem...
Dredging for Atlantis
Poetry. Asian- American Studies. DREDGING FOR ATLANTIS, this new collection from prolific poet Eilieen Tabios, introduces her translation of the painterly technique of scumbling, painting light colors over dark colors to create an opalescent effect, creating poems from other poets' words. Tabios publications include fourteen poetry collections. Her books REPRODUCTIONS OF THE EMPTY FLAGPOLE, I TAKE THEE, ENGLISH, FOR MY BELOVED, MENAGE A TROIS WITH THE 21ST CENTURY, and THE SECRET LIVES OF PUNCTUATION, VOL 1, are all available from SPD.
The Secret Lives of Punctuations
XPress(ed) is pleased to announce the release of Eileen R. Tabios' tenth poetry collection, The Secret Lives of Punctuations, Vol. I, which reveals for the first time the secret lives of those gestures so small that they are often taken for granted or overlooked: punctuations. Volume I of Punctuations reveals the resonant -- and quirky -- lives of the semi-colon, colon, ellipsis, parenthesis, strike-throughs, question mark, and the blank line. The book also offers a decolonialism scholar's perspective on punctuations by Leny M. Strobel, as well as a visual art relationship with punctuations through the paintings of Eve Aschheim. Finally, the book offers postcard-art and a performance project entitled The Secret Lives of Blank Lines by the author who is not just a poet but also a conceptual/performance and visual artist. --xPress(ed).
The Blind Chatelaine's Keys
The Blind Chatelaine's Keys takes its impetus from three impossibilities: (i) biography (and autobiography) - something is always left out, (ii) artistic criticism - the critic,s subjectivity inevitably comes to play, and (iii) pure persona in poems -the poet's self remains a presence no matter how much a poet may wish to disrupt the 'I'. Eileen R. Tabios, known as 'Chatelaine' in poetry blogland, uses others' criticisms and engagements of her writings to create a narrative arc that serves as a biography. Since the biography is based (mostly) on her poems, it conceptually pushes the idea summed up by Ted Berrigan: 'there is a self inside almost all of the poems'. The Blind Chatelaine's Keys ...
The In(ter)vention of the Hay(na)ku
Poetry. Asian & Asian American Studies. Women's Studies. THE IN(TER)VENTION OF THE HAY(NA)KU: SELECTED TERCETS 1996-2019 presents tercets that Eileen R. Tabios created during her writing career, a process that led to her invention of the hay(na)ku poetic form. The hay(na)ku has been practiced by poets and visual artists around the world. The collection also presents her tercets in other forms, from the lyric to the experimental, and ends with her take on the Death Poems from East Asian cultures. "Eileen R. Tabios is one of the more adventuresome and truly creative poets before the public today. She is absolutely able to write poems in the usual styles and make her works resonate with every reader. But she always is searching for ways to push the use of words into formats or situation that challenge the brain as well as heart."--San Francisco Review of Books
The Inventor
Insights into creating poetic forms against an autobiographical background. Part of the Chapter One series acclaimed by Publishers Weekly that presents the writers' craft in real life. Eileen R. Tabios: "I wrote THE INVENTOR not because it's about my life but, because it's an autobiography that connects history, language, and poetry in a unique way beyond narratives. I learned English because it became widespread in my birth land, the Philippines, through U.S. colonialism. That caused me, as a young poet, to feel estranged from my raw material: English. My poetry practice, however, would lift me out of politics to meet poetry more directly as its own type of language. Ultimately, my prolonge...
Amnesia
Poetry. Forgetfulness and remembering are two sides of the same coin--and that coin is anybody! Reading Eileen Tabios, we are reminded about the extent to which we are, after all, the sum of our experiences, and the extent to which my experiences may just as well be yours, or yours or yours or yours! The impressions and remembrances we hold as unique to ourselves may just as well belong to somebody else. Tabios demonstrates their interchangeableness, their downright universality! One might ask, whose memoir is this anyway? AMNESIA: SOMEBODY'S MEMOIR is everybody's memoir! --Gregory Vincent St. Thomasino
Witness in the Convex Mirror
Poetry. Asian & Asian American Studies. When John Ashbery died in September, 2017, all the obituaries noted that he had been a member of the New York School of poets, that his roots were in western New York and that, despite living for a decade in Paris, his career had unfolded over many decades in the City. Ashbery was, indeed, something of a local poet, constantly using references from the places he had lived. Lost in the very local memorials, however, was the fact that Ashbery's work also influenced writers in the Pacific, including writers of color. Eileen Tabios has taken up Ashbery's influence and engaged in a project of "the browning of John Ashbery," as she told Tinfish's editor once...
