The banjo clock / Karen Garthe.

By:

Garthe, Karen, 1949-

Material type: Text

TextSeries: New California poetry ; 34.Publication details: Berkeley : University of California Press, c2012.Description: 1 online resource (81 p.)Content type:

text

Media type:

computer

Carrier type:

online resource

ISBN:

9780520951693
0520951697

Subject(s):

Genre/Form:

Additional physical formats: Print version:: The banjo clockDDC classification:

811/.6 23

LOC classification:

PS3607.A777

Online resources:

Click here to access online

Contents:

Cover; Contents; Fanta grape; Rid the kitchen; Ikebana; Gorge; Ink Runs; REHAB (we want grace walls); National sky; Buckle up, Sweetie; Piranesi under The Keystone of A; Eternal Youth; PARTITA Flat-out Mars; To Dolls Big as Clara; Bear; Dolly Loves the Ocean; Little Soulyard, 1; Island of the Judge who kept us; State Fair; First surge Cable; my Liebestod; Frail of a year; Midwest; soldiering PARTITA; Little Soulyard, 2; Sadly, I noticed; Andrew, all bespoke; The Porticos of Toulouse; Porn Guy Idée Fixe; Champagne Blondes / Little Scrap of Irony; The Challenge; 59th Street Station.

Summary: For Karen Garthe, poetry is a Molotov cocktail. A master of radical invention, Garthe combines brio of conception with linguistic virtuosity, bringing language to new life from the inside at breakneck speed. The Banjo Clock, her second collection, cultivates a luxuriant sensibility even as it interrupts poetic continuity with cuts, ironies, sharp wit, and wild recklessness. In poems that consider poetry itself, Garthe writes about preparing the medium, the ink, "the motion of new utility." She then turns to America's psychic maladies and the need to rehabilitate our democracy, now floundering.

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Electronic-Books	OPJGU Sonepat- Campus	E-Books EBSCO			Available

Includes bibliographical references (p. 81).

Description based on print version record and CIP data provided by publisher; resource not viewed.

For Karen Garthe, poetry is a Molotov cocktail. A master of radical invention, Garthe combines brio of conception with linguistic virtuosity, bringing language to new life from the inside at breakneck speed. The Banjo Clock, her second collection, cultivates a luxuriant sensibility even as it interrupts poetic continuity with cuts, ironies, sharp wit, and wild recklessness. In poems that consider poetry itself, Garthe writes about preparing the medium, the ink, "the motion of new utility." She then turns to America's psychic maladies and the need to rehabilitate our democracy, now floundering.

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