At Treasure Island, a humanly made island in the San Francisco Bay, a performance troupe dressed in hazmat suits articulate gestures that resemble toxic remediation. As they become more attuned to the site and to its history and ecology, enigmatic presences infiltrate their spacetime. Are they from the past, the present, or the future? What is the significance of their sudden arrival? What happens when historical and geological eras converge? Meanwhile, elsewhere, various earth scientists at sites around the globe search for the “golden spike”: a telltale geologic marker that synchronously indicates a definitive time change in the strata—a change from the Holocene epoch to the Anthropocene. Within their data is Earth’s biography, but how is humanity insinuated within this chronology? Throughout Presence, encounter and contact are the major elements of consequence, action, implication, and resounding significance. Encounter and contact between timeframes, cultures, ecologies, persons, intuitions, ways of living, and worlding. At these junctures are the moments of possibility—of violence and/or of budding community.
Poetry. Environmental Studies. BIONIC COMMUNALITY demonstrates floral, faunal and mineral consciousness as a cacophonous, all-encompassing intensity of being together, collaboratively holding a space of lived histories and emergent matrixes of meaning. In a terrestrial and cosmic forcefield of vibrant interconnectedness, emergent relational and positional engagements are negotiated. Taking cues from motile and audiovisual sensation, improvisations and choreographed dances performed throughout Iijima's hometown inform language as it becomes active in 360 degrees. Submerged social facts are laid bare: femacide, ecocide, genocide. This is a work of the intimacies of civic participation. Liberational struggles find coalitional power. Dying is attended to, as is living. BIONIC COMMUNALITY is a vibrant catalyst for social transformation.
In a neural rush, Early Linoleum engages the propulsive flow of contemporaneous valences—psycho-geography meets in the force-field of biopolitical conditions. Poet activists congregate on the steps of the New York Public Library, there’s art beneath the dirt, rock outcroppings communicate with Jacques Derrida and the transactions that make war and love collide. In this textual sensorium, connections between climate ecology and political ecology are reckoned with somatically and lyrically, locally and globally. The thinking through charged spaces within and between human animal structures, especially during states of perpetual strife, as in global climate change and war—the dissonance, air, wind flow, coagulated ideas, affective registers—frequencies diffuse or mutate, streaming from urban sites to the rural and wild. This work is a revelatory and bold response for our times.
In a neural rush, Early Linoleum engages the propulsive flow of contemporaneous valences—psycho-geography meets in the force-field of biopolitical conditions. Poet activists congregate on the steps of the New York Public Library, there’s art beneath the dirt, rock outcroppings communicate with Jacques Derrida and the transactions that make war and love collide. In this textual sensorium, connections between climate ecology and political ecology are reckoned with somatically and lyrically, locally and globally. The thinking through charged spaces within and between human animal structures, especially during states of perpetual strife, as in global climate change and war—the dissonance, air, wind flow, coagulated ideas, affective registers—frequencies diffuse or mutate, streaming from urban sites to the rural and wild. This work is a revelatory and bold response for our times.
At Treasure Island, a humanly made island in the San Francisco Bay, a performance troupe dressed in hazmat suits articulate gestures that resemble toxic remediation. As they become more attuned to the site and to its history and ecology, enigmatic presences infiltrate their spacetime. Are they from the past, the present, or the future? What is the significance of their sudden arrival? What happens when historical and geological eras converge? Meanwhile, elsewhere, various earth scientists at sites around the globe search for the "golden spike": a telltale geologic marker that synchronously indicates a definitive time change in the strata-a change from the Holocene epoch to the Anthropocene. Within their data is Earth's biography, but how is humanity insinuated within this chronology? Throughout Presence, encounter and contact are the major elements of consequence, action, implication, and resounding significance. Encounter and contact between timeframes, cultures, ecologies, persons, intuitions, ways of living, and worlding. At these junctures are the moments of possibility-of violence and/or of budding community.
Brenda Hillman's eleventh volume celebrates minutes of visible and invisible existence; it is her most intimate and wide-ranging collection to date. It is also her third book about time, following books that explored seasons and days. An iconoclastic ecopoet who has led the way for many emerging artists, Hillman continues to re-cast innovative poetic forms as instruments for tracking human and non-human experiences. Twenty-four-line lyrics sit beside longer poems of architectural play to show a life of action and of contemplation. At times the poet deploys short dialogues, meditations or trance techniques as means of rendering inner states; other times she uses narrative, documentary or scientific materials to record daily events during a time of pandemic, planetary crisis, political and racial turmoil. A masterful final sequence braids images of wildfire evacuations in an homage to a long marriage. Hillman proposes that poetry offers courage even in times of existential peril; her work represents what is most necessary and fresh in American poetry.
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