Found texts are archeological artifacts. Mac Cormack didn't find her texts by accident. Implexures (2003) is an exploration of her ancestry, which evidently goes back to Elizabethan times (when the word "implexure," meaning fold or folding, was still, if only rarely, in use).
The poem is in part a series of "historical letters" made of heterogeneous voices from many sources and periods--"To absorb a history of family through the centuries requires a forebear's attention to facts and no fear of paper" (I10). The voices (and years) cannot always (and never easily) be identified or distinguished from one another--"'Language as primary environment' applied to re-reading letters (one's own and others') the decades interleaved on every surface to blur and redefine the living in & perception's architecture" (I44-45)--except perhaps for the (italicized) letters home from a modern young woman traveling to places like Mexico, Italy, Greece, and Turkey.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Karen Mac Cormack (born Luanshya, Zambia, [1] 1956) is a contemporary experimental poet. She holds dual British/Canadian citizenship, and lived for many years in Toronto; more recently, she moved to Buffalo, New York, when her husband, the poet Steve McCaffery, was hired by SUNY-Buffalo for the David Gray Chair.
Mac Cormack is the author of Straw Cupid (1987), Quirks & Quillets (1991), Marine Snow (1995), The Tongue Moves Talk (1997), At Issue (2001), Vanity Release (2003) and Implexures (part one, 2003; full-length publication, 2009), as well as a collaboration with the British poet Alan Halsey, Fit to Print (2003).
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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