Saint October: Poems: Test Site Poetry Series
Autor Lindsey Warrenen Limba Engleză Paperback – dec 2026 – vârsta ani
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Specificații
ISBN-13: 9781647792602
ISBN-10: 1647792606
Pagini: 84
Dimensiuni: 140 x 216 x 13 mm
Greutate: 0.45 kg
Editura: University of Nevada Press
Colecția University of Nevada Press
Seria Test Site Poetry Series
ISBN-10: 1647792606
Pagini: 84
Dimensiuni: 140 x 216 x 13 mm
Greutate: 0.45 kg
Editura: University of Nevada Press
Colecția University of Nevada Press
Seria Test Site Poetry Series
Recenzii
“In the beginning there was…[a] glossolalia of iridescence.” The stars spoke us into existence, but we forgot how to listen. Lindsey Warren’s beautiful poems speak in tongues, reminding us that we are made of stardust. “There are spaces to cross. All within you,” she writes. Returning the poem to its origin in song, Warren offers us a new kind of vesper, one that praises soul and solar system alike. “A god travels in me and I grow dark,” but it is in this darkness that stars become visible. If the night were a saint, Saint October would be its treatise. I urge you to read it.”
—Sasha Steensen, author of Well and Everything Awake
“Lucie Brock-Broido said that the magic of a book of poetry usually occurs in threes . . . I believe wholly in the slim volume of verse, I believe in the slim everything, I like the trees to be slim in October. Lindsey Warren's Saint October is just such a three-part, sixty-some-odd-page wonder, populated by poems that Celan their way through compound neologisms (beebrown! wormchews! transblue!!), living largely on Quadrant II of the page—that top-left corner, negative in one dimension, insuppressibly positive in the other. Warren's poems are spoken from the inflection point between ecology and astronomy, reminding us that the gaps "between released / leaves" partake of the same void as "heaven's black cabinets" and the "alongside of human stars that whirl / and feel you"—and how feeling, too, is a function of those gaps between atoms that we don't even traverse when we touch. As one poem's speaker has it, "I wrestle / it until / it blesses / me"—and though we're not the angel in the ring, we can hear the singing, the "Seeping", these divine ‘sounds / in the eye.’”
–Tom Snarsky, author of Reclaimed Water and Light-Up Swan
“In Saint October, Warren showcases a mastery over language that creates intricate sculptures of words. Dizzying in the best way. She is my nominee for the poet-laureate of the quantum or the macrocosm, but probably both. Terrifying and profound. Warren builds poems like a hadron collider.”
—Paul K. Tunis, author of The Open Door
“Saint October is a book devoted to the religion of phenomena, wherein we find ourselves forever in transit to what is Next. Just as October itself lives on a hinge between summer and winter, so does the intrepid pilgrim journeying throughout this gorgeous book cast away anything that hints at permanence. Saint October is a devotional tour-de-force wherein Lindsay Warren proves that the imminence of being is available anywhere, once we give up the dream of possessing it.”
—Claudia Keelan, professor of English, University of Nevada, Las Vegas, editor of Interim, author of eight collections of poetry, including We Step into the Sea
“In ‘The Apocalypse is (Still) Disappointing,’ the Slovenian philosopher Alenka Zupančič argues that the end of the world is no longer on the horizon—it has already begun. Zupančič's title would make a fitting subtitle for Drohan's It's Late, an understated study of the human subject absorbed in the everyday while the apocalypse unfolds around it. The collection's central revelation—that the end of the world is experienced as though it is not occurring—is brilliantly rendered throughout this breathtaking debut. As Drohan writes in ‘You Expected from the World’: ‘We didn't understand / The beginning was the end / The song on the radio says / We'll all be gone by fall.’ It's Late is the book about the end—which is to say, our contemporary moment—we have been waiting for.”
—Cynthia Cruz, author of Sweet Repetition
—Sasha Steensen, author of Well and Everything Awake
“Lucie Brock-Broido said that the magic of a book of poetry usually occurs in threes . . . I believe wholly in the slim volume of verse, I believe in the slim everything, I like the trees to be slim in October. Lindsey Warren's Saint October is just such a three-part, sixty-some-odd-page wonder, populated by poems that Celan their way through compound neologisms (beebrown! wormchews! transblue!!), living largely on Quadrant II of the page—that top-left corner, negative in one dimension, insuppressibly positive in the other. Warren's poems are spoken from the inflection point between ecology and astronomy, reminding us that the gaps "between released / leaves" partake of the same void as "heaven's black cabinets" and the "alongside of human stars that whirl / and feel you"—and how feeling, too, is a function of those gaps between atoms that we don't even traverse when we touch. As one poem's speaker has it, "I wrestle / it until / it blesses / me"—and though we're not the angel in the ring, we can hear the singing, the "Seeping", these divine ‘sounds / in the eye.’”
–Tom Snarsky, author of Reclaimed Water and Light-Up Swan
“In Saint October, Warren showcases a mastery over language that creates intricate sculptures of words. Dizzying in the best way. She is my nominee for the poet-laureate of the quantum or the macrocosm, but probably both. Terrifying and profound. Warren builds poems like a hadron collider.”
—Paul K. Tunis, author of The Open Door
“Saint October is a book devoted to the religion of phenomena, wherein we find ourselves forever in transit to what is Next. Just as October itself lives on a hinge between summer and winter, so does the intrepid pilgrim journeying throughout this gorgeous book cast away anything that hints at permanence. Saint October is a devotional tour-de-force wherein Lindsay Warren proves that the imminence of being is available anywhere, once we give up the dream of possessing it.”
—Claudia Keelan, professor of English, University of Nevada, Las Vegas, editor of Interim, author of eight collections of poetry, including We Step into the Sea
“In ‘The Apocalypse is (Still) Disappointing,’ the Slovenian philosopher Alenka Zupančič argues that the end of the world is no longer on the horizon—it has already begun. Zupančič's title would make a fitting subtitle for Drohan's It's Late, an understated study of the human subject absorbed in the everyday while the apocalypse unfolds around it. The collection's central revelation—that the end of the world is experienced as though it is not occurring—is brilliantly rendered throughout this breathtaking debut. As Drohan writes in ‘You Expected from the World’: ‘We didn't understand / The beginning was the end / The song on the radio says / We'll all be gone by fall.’ It's Late is the book about the end—which is to say, our contemporary moment—we have been waiting for.”
—Cynthia Cruz, author of Sweet Repetition
“Lindsey Warren's poems twist the sonic ear, bridging exactitudes of focus: beetles, moss, the smallest of creatures with the associative logic of our synaptic gaps. Her poems prod as they play, pushing us further into Warren's web of interconnectivity. Warren guides us in her singular way, ‘There are spaces to cross. All within you.’ Threaded by light, paced by seasonal time and memory, Warren links the cerebral with the percussive. These are poems concerned with and enacting the beating rhythm of all creatures, seasons, and temporalities. Within this world, language is imaginative and playful while remaining tangible and rooted in the physical realm. Yet there is nothing physical about these poems, they are epiphanic and writhing, declaring themselves both holy and wild. Sacred and untamed. These poems notice and contain every drop of dew.”
—Kate Kelly, author of Tuck (forthcoming)
—Kate Kelly, author of Tuck (forthcoming)
Notă biografică
Lindsey Warren is a Delaware native with an MFA from Cornell University. She is the author of three poetry collections and has published poem collages in journals including Fugue and The Rappahannock Review.