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Starship Tahiti : poems /

Beginning on Rikers Island, this book traces a creation myth in reverse, moving from prison to the spacious arches of Grand Central Station to the shores of the Chesapeake Bay. The poet examines themes of violence, gender, and identity in various real and imagined settings where inmates read Antigon...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Lamson, Brandon Dean (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Amherst : University of Massachusetts Press, [2013]
Colección:Juniper Prize for Poetry
Temas:
Acceso en línea:Texto completo

MARC

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245 1 0 |a Starship Tahiti :  |b poems /  |c Brandon Dean Lamson. 
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490 0 |a Juniper Prize for Poetry 
504 |a Includes bibliographical references. 
505 0 |a Black dog, white dog -- The Q101 bus to Antigone -- Pirate ships -- Prison letters -- Razor dream sonnet -- Insomnia sonnet -- Exit wounds- an interlude -- Rose M. Singer -- Pit bull training -- Storming the warehouse -- Evidence -- Buddha's robes -- White power -- Finding Lola Savannah -- Knights of fidelity -- Mud man plays the Copenhagen Jazz Fest -- Portland bardo -- Rescue divers -- Starship Tahiti -- The prophecy of Miss Branch -- Crazy Horse & bondage -- Dark magus -- Cannibal headdress -- Irises -- Billie Holiday sings at the Starlight Inn -- Filming the explosion -- Tropicana drag -- Sonar -- Psalm of Sambo -- Church burning in southern Maryland -- Strange fruit on Bourbon Street -- Metallica burns on the altar of the viking rockstar -- 'Bama barbershop. 
520 |a Beginning on Rikers Island, this book traces a creation myth in reverse, moving from prison to the spacious arches of Grand Central Station to the shores of the Chesapeake Bay. The poet examines themes of violence, gender, and identity in various real and imagined settings where inmates read Antigone, Howlin’ Wolf sings in a black barbershop, and Metallica records burn on a Viking altar. Throughout these shifts, the poems construct fractured narratives that subvert linear storytelling. The layering of voice and imagery in this collection transgresses boundaries between the secular and the sacred, and between the communal and the personal. 
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