Kimiko Hahn stands as a welcome voice of experimentation and passion."—Bloomsbury Review Kimiko Hahn's poetry explores the interplay—and tensions—among her various identities: mother, lover, wife, poet, and daughter of both the Midwest and Asia. However astonishing her subjects—from sideshow freaks to sadomasochistic fantasy—they ultimately emerge in this startling collection as moving images of the deepest levels of our shared humanity.
A striking, shapeshifting volume from "one of the most fascinating female poets of our time (BOMB)." Inspired by her encounter with Dr. Chevalier Jackson’s collection of ingested curiosities at Philadelphia’s Mütter Museum, Kimiko Hahn’s tenth collection investigates the grip that seemingly insignificant objects exert on our lives. Itself a cabinet of curiosities, the collection provokes the same surprise, wonder, and pangs of recognition Hahn felt upon opening drawer after drawer of these swallowed, and retrieved, objects—a radiator key, a child’s perfect attendance pin, a mother-of-pearl button. The speaker of these moving poems sees reflections of these items in the heartbreaking detritus of her family home, and in her long-dead mother’s Japanese jewelry. As Hahn remakes the lyric sequence in chains reminiscent of the Japanese tanka, the foreign bodies of the title expand to include the immigrant woman’s trafficked body, fossilized remains, a grandmother’s Japanese body. She explores the relationship between our innermost selves and the relics of our vanished past, making room for meditation on grief and the ephemeral nature of the material world, for the account of a nineteenth-century female fossil hunter, and for a celebration of the nautilus. Foreign Bodies investigates the power of possession, replete with Hahn’s electric originality and thrilling mastery of ever-changing forms.
In Brood, Kimiko Hahn trains her eye on the commonplace—clothespins, bees, papaya, perfume, poached eggs, a sponge, fire, sand dollars—and reveals their very essence in concise evocative language. Underlying these little gems is a sense of loss, a mother's death or a longing for childhood. "Brood" connotes the bundling of family or beasts, but also dark thinking, and both are at play here where the less said, the better. Kimiko Hahn is the author of ten books of poetry, including most recently, Brain Fever (Norton, 2014). She has received numerous honors, including the PSA's Shelley Memorial Prize, the PEN/Voelcker Award, and fellowships from the National Endowment for the Arts, Guggenheim Foundation, and New York Foundation for the Arts. She is a distinguished professor in creative writing at Queens College (CUNY) and lives in Forest Hills, New York.
Rooted in traditional Japanese aesthetics and meditations on contemporary neuroscience, a stunning new volume from an essential American poet. Acclaimed as "one of the most fascinating female poets of our time" (BOMB), Kimiko Hahn is a shape-shifter, a poet who seeks novel forms for her utterly original subject matter and "stands as a welcome voice of experimentation and passion" (Bloomsbury Review). In Brain Fever, Hahn integrates the recent findings of science, ancient Japanese aesthetics, and observations from her life as a woman, wife, mother, daughter, and artist. Rooted in meditations on contemporary neuroscience, Brain Fever takes as its subject the mysteries of the human mind—the nature of dreams and memories, the possibly illusory nature of linear time, the complexity of conveying love to a child. In one poem, "A Bowl of Spaghetti," she cites a comparison that researchers draw between unraveling "the millions of miles of wires in the [human] brain" and "untangling a bowl of spaghetti," and thus she untangles a memory of her own: "I have an old photo: Rei in her high chair intently / picking out each strand to mash in her mouth. // Was she two? Was that sailor dress from mother? / Did I cook that sauce from scratch? If so, there was a carrot in the pot." Equally inspired by Sei Shonagon's tenth-century Pillow Book and the latest findings of cognitive research, Brain Fever is a thrilling blend of the timely and the timeless.
“Borrowing from [such writers as] Elizabeth Bishop and Chimako Tada, featuring ghosts and geoglyphs, writing in form and free verse, Kimiko Hahn’s broad and eclectic approach reveals a mind as vast as the terrains it traverses.”—Nicole Sealey, Poetry magazine Opening with forty-three new formally inventive poems and leading the reader back in time through selections from her ten previous volumes, The Ghost Forest offers a contemplative and haunting narrative of a writer’s artistic journey through craft and form while illuminating her personal history. Exploring the mysteries of science, nature, and the experiences of contemporary womanhood, Hahn both reinvents classic Japanese forms and experiments with traditional Western ones. Braided into the poems and narrative thread, a series of photos transforms the new-and-selected into a hybrid autobiography. This arresting collection derives new beauty from long-gone remnants. A Riotous Disorder She mistakes one word for another— Something her brain naturally concocts. Her unruly gray matter and her heart Mistake one word for an other— Razor for river, cistern for sister. Even cock for clock. She mistakes one word for a mother— A safe her brain naturally unlocks.—
This breakthrough volume by award-winning poet Kimiko Hahn is her most rigorously "female" work to date as she reclaims the female body and reinvents an ancient Chinese correspondence. Mosquito and Ant refers to the style in which nu shu--a nearly extinct script used by Chinese women to correspond with one another--is written. Here in this exciting and totally original book of poems the narrator corresponds with L. about her hidden passions, her relationship with her husband and adolescent daughters, lost loves, and erotic fantasies. Kimiko Hahn's collection takes shape as a series of wide-ranging correspondences that are in turn precocious and wise, angry and wistful. Borrowing from both Japanese and Chinese traditions, Hahn offers us an authentic and complex narrator struggling with the sorrows and pleasures of being a woman against the backdrop of her Japanese-American roots.
“[Kimiko] Hahn’s frankness . . . allows [these poems] to stand out as starkly fresh as the carnivorous plants she describes.”—American Poet For Kimiko Hahn, the language and imagery of science open up magical possibilities for the poet. In her haunting eighth collection inspired by articles from the weekly “Science” section of the New York Times, Hahn explores identity, extinction, and survival using exotic tropes drawn from the realms of astrophysics, mycology, paleobotany, and other rarefied fields. With warmth and generosity, Hahn mines the world of science in these elegant, ardent poems. from “On Deceit as Survival” Yet another species resembles a female bumble bee, ending in frustrated trysts— or appears to be two fractious males which also attracts—no surprise— a third curious enough to join the fray. What to make of highly evolved Beauty bent on deception as survival—
In Brood, Kimiko Hahn trains her eye on the commonplace—clothespins, bees, papaya, perfume, poached eggs, a sponge, fire, sand dollars—and reveals their very essence in concise evocative language. Underlying these little gems is a sense of loss, a mother's death or a longing for childhood. "Brood" connotes the bundling of family or beasts, but also dark thinking, and both are at play here where the less said, the better. Kimiko Hahn is the author of ten books of poetry, including most recently, Brain Fever (Norton, 2014). She has received numerous honors, including the PSA's Shelley Memorial Prize, the PEN/Voelcker Award, and fellowships from the National Endowment for the Arts, Guggenheim Foundation, and New York Foundation for the Arts. She is a distinguished professor in creative writing at Queens College (CUNY) and lives in Forest Hills, New York.
Rooted in traditional Japanese aesthetics and meditations on contemporary neuroscience, a stunning new volume from an essential American poet. Acclaimed as "one of the most fascinating female poets of our time" (BOMB), Kimiko Hahn is a shape-shifter, a poet who seeks novel forms for her utterly original subject matter and "stands as a welcome voice of experimentation and passion" (Bloomsbury Review). In Brain Fever, Hahn integrates the recent findings of science, ancient Japanese aesthetics, and observations from her life as a woman, wife, mother, daughter, and artist. Rooted in meditations on contemporary neuroscience, Brain Fever takes as its subject the mysteries of the human mind—the nature of dreams and memories, the possibly illusory nature of linear time, the complexity of conveying love to a child. In one poem, "A Bowl of Spaghetti," she cites a comparison that researchers draw between unraveling "the millions of miles of wires in the [human] brain" and "untangling a bowl of spaghetti," and thus she untangles a memory of her own: "I have an old photo: Rei in her high chair intently / picking out each strand to mash in her mouth. // Was she two? Was that sailor dress from mother? / Did I cook that sauce from scratch? If so, there was a carrot in the pot." Equally inspired by Sei Shonagon's tenth-century Pillow Book and the latest findings of cognitive research, Brain Fever is a thrilling blend of the timely and the timeless.
An expansive work inspired by Japanese prose-poetry from a poet of “rigorous intelligence, fierce anger, and deep vulnerability” (Mark Doty). Kimiko Hahn, "a welcome voice of experimentation and passion" (Bloomsbury Review), takes up the Japanese prose-poetry genre zuihitsu—literally "running brush," which utilizes tactics such as juxtaposition, contradiction, and broad topical variety—in exploring her various identities as mother and lover, wife and poet, daughter of varied traditions.
A striking, shapeshifting volume from "one of the most fascinating female poets of our time (BOMB)." Inspired by her encounter with Dr. Chevalier Jackson’s collection of ingested curiosities at Philadelphia’s Mütter Museum, Kimiko Hahn’s tenth collection investigates the grip that seemingly insignificant objects exert on our lives. Itself a cabinet of curiosities, the collection provokes the same surprise, wonder, and pangs of recognition Hahn felt upon opening drawer after drawer of these swallowed, and retrieved, objects—a radiator key, a child’s perfect attendance pin, a mother-of-pearl button. The speaker of these moving poems sees reflections of these items in the heartbreaking detritus of her family home, and in her long-dead mother’s Japanese jewelry. As Hahn remakes the lyric sequence in chains reminiscent of the Japanese tanka, the foreign bodies of the title expand to include the immigrant woman’s trafficked body, fossilized remains, a grandmother’s Japanese body. She explores the relationship between our innermost selves and the relics of our vanished past, making room for meditation on grief and the ephemeral nature of the material world, for the account of a nineteenth-century female fossil hunter, and for a celebration of the nautilus. Foreign Bodies investigates the power of possession, replete with Hahn’s electric originality and thrilling mastery of ever-changing forms.
Kimiko Hahn stands as a welcome voice of experimentation and passion."—Bloomsbury Review Kimiko Hahn's poetry explores the interplay—and tensions—among her various identities: mother, lover, wife, poet, and daughter of both the Midwest and Asia. However astonishing her subjects—from sideshow freaks to sadomasochistic fantasy—they ultimately emerge in this startling collection as moving images of the deepest levels of our shared humanity.
“Borrowing from [such writers as] Elizabeth Bishop and Chimako Tada, featuring ghosts and geoglyphs, writing in form and free verse, Kimiko Hahn’s broad and eclectic approach reveals a mind as vast as the terrains it traverses.”—Nicole Sealey, Poetry magazine Opening with forty-three new formally inventive poems and leading the reader back in time through selections from her ten previous volumes, The Ghost Forest offers a contemplative and haunting narrative of a writer’s artistic journey through craft and form while illuminating her personal history. Exploring the mysteries of science, nature, and the experiences of contemporary womanhood, Hahn both reinvents classic Japanese forms and experiments with traditional Western ones. Braided into the poems and narrative thread, a series of photos transforms the new-and-selected into a hybrid autobiography. This arresting collection derives new beauty from long-gone remnants. A Riotous Disorder She mistakes one word for another— Something her brain naturally concocts. Her unruly gray matter and her heart Mistake one word for an other— Razor for river, cistern for sister. Even cock for clock. She mistakes one word for a mother— A safe her brain naturally unlocks.—
Poetry. Asian-American Studies. Kimiko Hahn's first poetry collection, Air Pocket, served notice that an important new voice was making itself heard. EARSHOT, Hahn's second book, picks up where Air Pocket left off. Jessica Hagedorn writes that Hahn's latest work is "[a] sensual maze of language and startling imagery.Hahn's poetry intoxicates you with her sexual passion, her rigorous intelligence, and the luminous quality of her writing." Jack Hirschman comments that "Hahn's new collection, even more concentrated in content than Air Pocket, covers all bases: from first, to the keystone, to the dialectical hot corner to home. Kisses pumped up from the left ventricle." Kimiko Hahn grew up near New York City and now lives in Manhattan with her husband, Ted Hannan, and their two daughters, Miyako and Reiko. The recipient of fellowships from the National Endowment for the Arts and the New York Foundation for the Arts, she currently teaches poetry writing at Sarah Lawrence College and Asian-Americ
Poetry. AIR POCKET is Kimiko Hahn's first book, a collection rooted in the actual and emotional geography of California. "Kimiko Hahn is so good in so many different ways, it would be impossible not to wish her well"—Vijay Seshadri.
Poetry. In this book, Kimiko Hahn manages to take the air of atrocity we breathe in daily and turn it into fierce political/ lyrical poetry, in the tradition of Shelley's The Masque of Anarchy. Current events ripped open and the entrails exposed in living color. She is one of our strongest poets-Harvey Shapiro. In VOLATILE, Hahn's lyrical voice maintains its course through narratives ranging from quiet recollections of childhood to the sometimes unbearable horrors of the modern world: She watched her child starve. Watched her neighbor get clubbed to death. Watched another disappear./ (how the mind acts to what the body perceives)/ Dissociation, ' a state of altered consciousness. If I am on a freeway daydreaming and drive past the exit... (Blindsided: a zuihitsu). Kimiko Hahn is the author of AIR POCKET and EARSHOT (both from Hanging Loose Press) and THE UNBEARABLE HEART (Kaya), all of which are available from SPD.
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