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Living Room.
・ISBN 978-1-4962-3236-6 paper US$ 17.95
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お気に入り
★★★
| 著者・編者 | Bylenok, Laura, |
|---|---|
| シリーズ | (The Backwaters Prize in Poetry) |
| 出版社 | (University of Nebraska Press, US) |
| 出版年月 | 2022 |
| ページ数 | 96 pp. |
| 言語 | ENG |
| ニュース番号 | ＜A04-28678＞ |
解説
Finalist for the 2023 Virginia Literary Awards
Finalist for the 2023 Eric Hoffer Book Award
Deeply phenomenological and ecological, Laura Bylenok's poems in Living Room imagine the lived reality of other organisms and kinds of life, including animals, plants, bacteria, buildings, and rocks. They explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity. In particular, the poems consider so-called model organisms-nonhuman species studied to understand specific and often human biological processes, diseases, and phenomena-as well as an experience of self and world that cannot be objectively quantified. The impulse of these poems is to slow down, to see and feel, and to listen closely. Language becomes solid, palpable as fruit. Long lines propel breath and push past the lung's capacity.
Life at a cellular level, synthesis and symbiosis, is revealed through forests, fairy tales, and vines that grow over abandoned houses and hospital rooms. A living room is considered as a room that is lived in and also a room that is alive. Cells are living rooms. A self is a room that shares walls with others. Interconnection and interplay are thematic, and the network of poems becomes a linguistic rendering of a heterogeneous and nonhierarchical ecosystem, using the language of biology, genetics, and neurochemistry alongside fairy tale and dream to explore the interior spaces of grief, motherhood, mortality, and self.
Finalist for the 2023 Eric Hoffer Book Award
Deeply phenomenological and ecological, Laura Bylenok's poems in Living Room imagine the lived reality of other organisms and kinds of life, including animals, plants, bacteria, buildings, and rocks. They explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity. In particular, the poems consider so-called model organisms-nonhuman species studied to understand specific and often human biological processes, diseases, and phenomena-as well as an experience of self and world that cannot be objectively quantified. The impulse of these poems is to slow down, to see and feel, and to listen closely. Language becomes solid, palpable as fruit. Long lines propel breath and push past the lung's capacity.
Life at a cellular level, synthesis and symbiosis, is revealed through forests, fairy tales, and vines that grow over abandoned houses and hospital rooms. A living room is considered as a room that is lived in and also a room that is alive. Cells are living rooms. A self is a room that shares walls with others. Interconnection and interplay are thematic, and the network of poems becomes a linguistic rendering of a heterogeneous and nonhierarchical ecosystem, using the language of biology, genetics, and neurochemistry alongside fairy tale and dream to explore the interior spaces of grief, motherhood, mortality, and self.