By Rae Armantrout
The poems in funds Shot are forensic. simply because the funds shot in porn is facts of the male orgasm, those poems discover questions of revelation and concealment. what's visible, what's hidden, and the way can we understand? funds Shot's research of those questions takes on a selected urgency since it happens within the context of the unexpectedly published industry manipulation and next "great recession" of 2008?2009. In those poems, Rae Armantrout searches for brand new how one can manage details. What may be made show up? What constitutes evidence? will we "know it once we see it"? intercourse, botany, cosmology, and dying in the course of the darkish lens of "disaster capitalism," Armantrout reveals facts of betrayal, grounds for uprising, moments of probability, or even excitement, in a time of unexpected shortage and constant greed. This gorgeous follow-up to Versed?winner of the Pulitzer Prize and the nationwide booklet Critics Circle Award, and a finalist for the nationwide e-book Award?is a superbly stringent exploration of ways deeply our event of lifestyle is embedded in capitalism.
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Extra resources for Money Shot (Wesleyan Poetry Series)
Example text
Appear a conscious artist as she strives, like any child, to bring order out of chaos? - 'tames', 'Wilder', 'only', 'tell' are words of struggle and choice. Perhaps she is even aware of the impact of her beauty, her 'fair Aspect', and deliberately uses it as an instrument? (In his 'To a Young Beauty', W. B. ) During the sixteenth and seventeenth centuries, many artists believed that Art can move towards, as well as away from, 'reality',* yet unresolved tensions haunt the gardens, the golden worlds and Edens of Art.
40 MARVELL Nature with designs of her own. And inescapably, the 'Roses' yoke together divine and erotic; the flower of love, above all, has its thorns. Yet, if such undercurrents spell present ambiguity and future danger, the child's essential innocence is not in doubt. Her power, though she knows, and uses it, remains untainted; the poet's response witnesses - through its own ironies - to this. Only in the next two stanzas does the poem develop towards its larger pattern, starting with a journey into conjecture, and into time: Who can foretel for what high cause This Darling of the Gods was born !
Tames', 'Wilder', 'only', 'tell' are words of struggle and choice. Perhaps she is even aware of the impact of her beauty, her 'fair Aspect', and deliberately uses it as an instrument? (In his 'To a Young Beauty', W. B. ) During the sixteenth and seventeenth centuries, many artists believed that Art can move towards, as well as away from, 'reality',* yet unresolved tensions haunt the gardens, the golden worlds and Edens of Art. When does 'native majesty' turn into pride, cultivation into tyranny?