From Publishers Weekly
The strongest of this remarkable set of open-ended apostrophes are like "fingers without guile/ soft as a kitten's throat"—beautiful and foreboding at the same time, with lines that seem to disappear into the images they carry. Steely, mystical, engaged and emotionally charged, the diction that Tsering achieves in this second collection is uniquely her own, comprising a world where "all confirmation of life/ remains outside"—yet it remains. It's a style that draws from whatever currents—politico-economic, lyric, base taxonomic, Tibetan folkloric—serve its descriptions, which are finally "Words I use because I like who I become." Readily apparent influences include Mei-Mei Berssenbrugge, Barbara Guest, Bernadette Mayer and Rilke—and perhaps the photography of Justine Kurland. Finally as elusive as it is resolute ("fugitive and fulcrum," as one telling phrase puts it), and following on
Rules of the House (2002), this book is deeply satisfying in its pointed ambiguity and angular clarity: "They looked for signs to disinter/ her needs. She was a yearling. They saw she liked yellow flowers/ in winter, talcum powder, and an occasional local whiskey."
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About the Author
Tsering Wangmo Dhompa was raised in India and Nepal. Tsering received her MA from University of Massachussetts and her MFA in Creative Writing from San Francisco State University. Her first book of poems, RULES OF THE HOUSE, published by Apogee Press in 2002 was a finalist for the Asian American Literary Awards in 2003. Other publications include IN THE ABSENT EVERYDAY (Apogee Press, 2005) and two chapbooks,
In Writing the Names (A.bacus, Potes & Poets Press) and
Recurring Gestures (Tangram Press). Tsering works for a San Francisco based non-profit foundation that provides humanitarian aid to people of the Himalayas.