Viva Miscegenation Brian Kim Stefans Books
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Poetry. "65.3% urbanity, neoclassical wit, critical detachment, epigrams, and sestinas; 34.7% curses, farts, and terrible jokes. Like modernist poetry, but with adulterations. I am in awe of the range of styles, the wealth of invention. The title is true this is a living book."—Aaron Kunin
"These poems are about as much furious thunder (lightning's or gunpowder's) as the lyric can carry now, well into the 21st century. Ranging, ambitious, messy here, elegant there—they sprawl with winning abandon like poetry's equivalent to a Franzen novel, sacrificing no wit but also no genuine gravitas. Look, they seem to say, at what poetry could do!"—Susan Wheeler
Viva Miscegenation Brian Kim Stefans Books
Brian Kim Stefans hasn't had the normal career of a poet, but instead the zigzags of his life and leanings gave him access into fields of inquiry that most of us were ignorand of until he opened the way. His latest book "Viva Miscegenation" comes already titled with the quotation marks Louis Zukofsky took to distinguish his "A" from other A's, Or should I have written "other As"? Miscegenation itself is a cold, distant and cruel word, so one wonders why anyone would wish it long life, especially a poet of mixed racial heritage as rehearsed in his own name (for he is Brian, the emperor of the Irish, then Kim, Polish like Kim Novak, and somewhere back in his ancestry his family belonged to the Stefans). There's a lot to unpack just on the cover of the book, and I'm not discounting the glittery, shiny silver on white tiny stripes that roll vertically across its recto and verso--like an ornate wedding present in a 1950s society wedding.I trace the movement of the book from a measured, mannered New York School pastiche to the somewhat scattered and tangential vibrations one picks up in Southern California. It is not immediately easy for poets such as BKS or Aaron Kunin (who writes a blurb for this book and to whom one of the very best poems is dedicated) to subject the keen ice of their intelligence, that bristling wit, to the torporous history of LaBrea's famed tar pits, but in each case the operation has been a success, both poets writing as never before with an ease new to them, a contingent glow of imperfection, almost a Cheshire cat's smile. evaporating from the pages as quickly as one reads them. There's a distinct luxuriance in mouthing the words, those that Brian Wilson whispered in Glen Campbell's ear during Campbell's 1965 solo recording sessions, "I guess I'm dumb, but I don't care." (Cf. the end to ""Metro" on page 123: "Why are you never asking/ or putting your arms around me when you see, I'm dumb?" --such a beautiful heaping of the tropes of abled vs disabled, questions vs sentence, first ve second person, all come tumbling down like the perfect endless wave. The impression is of a beloved genius somewhat happy at last, like he would even kiss a sunset pig to quote another unlikely transplant from colder climes.
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Viva Miscegenation Brian Kim Stefans Books Reviews
Brian Kim Stefans hasn't had the normal career of a poet, but instead the zigzags of his life and leanings gave him access into fields of inquiry that most of us were ignorand of until he opened the way. His latest book "Viva Miscegenation" comes already titled with the quotation marks Louis Zukofsky took to distinguish his "A" from other A's, Or should I have written "other As"? Miscegenation itself is a cold, distant and cruel word, so one wonders why anyone would wish it long life, especially a poet of mixed racial heritage as rehearsed in his own name (for he is Brian, the emperor of the Irish, then Kim, Polish like Kim Novak, and somewhere back in his ancestry his family belonged to the Stefans). There's a lot to unpack just on the cover of the book, and I'm not discounting the glittery, shiny silver on white tiny stripes that roll vertically across its recto and verso--like an ornate wedding present in a 1950s society wedding.
I trace the movement of the book from a measured, mannered New York School pastiche to the somewhat scattered and tangential vibrations one picks up in Southern California. It is not immediately easy for poets such as BKS or Aaron Kunin (who writes a blurb for this book and to whom one of the very best poems is dedicated) to subject the keen ice of their intelligence, that bristling wit, to the torporous history of LaBrea's famed tar pits, but in each case the operation has been a success, both poets writing as never before with an ease new to them, a contingent glow of imperfection, almost a Cheshire cat's smile. evaporating from the pages as quickly as one reads them. There's a distinct luxuriance in mouthing the words, those that Brian Wilson whispered in Glen Campbell's ear during Campbell's 1965 solo recording sessions, "I guess I'm dumb, but I don't care." (Cf. the end to ""Metro" on page 123 "Why are you never asking/ or putting your arms around me when you see, I'm dumb?" --such a beautiful heaping of the tropes of abled vs disabled, questions vs sentence, first ve second person, all come tumbling down like the perfect endless wave. The impression is of a beloved genius somewhat happy at last, like he would even kiss a sunset pig to quote another unlikely transplant from colder climes.
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