Poetry Books : Weekend Reading : Ongoing Biblio

Found used books at Moe’s Books on Telegraph Avenue yesterday evening:

These, along with Andrés Montoya’s the iceworker sings and other poems, are my weekend reading. I started Foster’s book last night as well, and it’s interesting to be reading Foster and Montoya concurrently, as their concepts of City are similar, and challenging my concept of City. Whereas even in the margins of SF, there still is to me this sense of city limits like a corral or pen, Foster and Montoya have sprawl, and certainly, City in Central Valley and Southern California sprawl in terms of geographical space and folk making and/or finding community and work.

Let my discussion on sprawl here not be interpreted as “the opposite of dense”; both poets’ bodies of work are dense with concrete details and sharp objects, blood, bullets, drugs/booze, and with poetic speakers who are both in the thick of it and then stepping back ever so slightly to bear witness, to think about perspective. Surprising, scary, violent shit happens in City; you wonder how to prepare for it, whether you really can.

OK. More later.

Current Reading: Very quick thoughts on Juan Felipe Herrera and Andres Montoya

187reasons.gif(1) I finished Juan Felipe Herrera’s 187 Reasons Why Mexicanos Can’t Cross The Border: Undocuments 1971-2007, and I am thinking about what I wrote earlier about sprawl. First of all, this volume is a collection of a lifetime thus far of work. I was born in 1971, so that’s some perspective, in terms of range. I think what’s effective about this collection is its not being in chronological order. It starts with more recent times’ (early 1990′s) pressing issues. I hope California voters remember Proposition 187, which was on the ballot in 1994, because that’s what he’s referencing in his book’s title.

What Oscar and I were talking about this morning (again, how much do I love that my husband poet and I get to talk poetics during morning commute), was that Herrera’s taken what I believe has become truism and trope in Chicano poetry, “We didn’t cross the border. The border crossed us,” and he’s done something not just interesting with it. He’s gone deep into it, exposing the continuity of American and California history in drawing, enforcing, and policing borders. Herrera challenges these enforcements, depicting them in absurd ways. This reminds me so much of the sentiment and agenda of Gloria Anzaldúa’s Borderlands/La Frontera, in such fine examination of the US/Mexico border, of the concept of border, of the people defined by border.

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