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Fjords Vol.1 (Small Press Distribution (All Titles)) Paperback – March 6, 2012

ISBN-13: 978-0984475254 ISBN-10: 0984475257 Edition: First Edition

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Product Details

  • Series: Small Press Distribution (All Titles)
  • Paperback: 72 pages
  • Publisher: Black Ocean; First Edition edition (March 6, 2012)
  • Language: English
  • ISBN-10: 0984475257
  • ISBN-13: 978-0984475254
  • Product Dimensions: 5.5 x 7.5 inches
  • Shipping Weight: 4.8 ounces (View shipping rates and policies)
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #149,248 in Books (See Top 100 in Books)

Editorial Reviews

About the Author

Zachary Schomburg is the author of THE MAN SUIT (Black Ocean, 2007), SCARY, NO SCARY (Black Ocean, 2009), FJORDS VOL. 1 (Black Ocean, 2012) and The Book of Joshua(forthcoming). He co-does Octopus Books and Octopus Magazine. He lives in Portland, OR.

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Customer Reviews

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Most Helpful Customer Reviews

Format: Paperback
Yet again, Schomburg has given us a collection of poems of which I understand not a one, but adore each. I literally never know what is coming next in a line. No matter how much you think I'd get prepared, I don't. They are creative, imaginative, and entertaining. There are few other poets who entertain me as much. There is probably more I'm not grasping, but I love what I get so I don't see the need to mess with that.
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2 of 2 people found the following review helpful By James Gregory on March 26, 2012
Format: Paperback
After thoroughly enjoying Schomburg's last two books of poetry, "The Man Suit" and "Scary, No Scary," I ordered "Fjords vol. 1" as soon as it came out. While the poems in of themselves are quite good, the book as a whole seems to lack the unity and luster of his former work. Significantly, to me anyway, was the fact that "Fjords vol. 1" did not have any long poems - none extended past 1 page in length. "Abraham Lincoln's Death Scene" and "The Pond" stand out in my mind as some of his best works, and the climaxes of each former book. Without these, and without the same unity of vision seen in the last two (for example, there are no memorable characters in the line of the "Carlos" and "Marlene" of "The Man Suit," or the infamous jaguars or the finely tuned "you" and "me" of "Scary, No Scary"), it feels like "Fjords vol. 1" is half of what I normally would expect from a Schomburg book. "Wait," you say, "this is only the first volume, give him a break." Yes, it is true that this is called volume 1, but in his University of Arizona interview, when asked about this, he said that he did not intend to write a follow up in the immediate future, but added the "vol. 1" so that he would be motivated, in general, to write more. To his credit, if there is a volume 2 which blows my mind and wraps it up, I will give the first volume more credit. As it seems like this may not happen, however, and as this is priced as a full book, I have to fault it as seemingly incomplete.

In any case, despite the forgoing complaints, Fjords is still certainly better than the majority of other new poetry books out there. I hope a "vol. 2," or the upcoming "Book of Joshua," will re-establish Schomburg's prominence (in my mind) as an important innovator in the genre.
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Format: Paperback Verified Purchase
Dark, bloody, disturbing poetry, this is. It's also witty, and beautiful. I had the great honor of meeting him in my poetry class, along with Emily Kendal Frey, and he is simply fantastic. He gets a lot of inspiration from dreams, his and the dreams of others. His poetry has a place on my desk, and has served as inspiration for my own writing. You won't regret this if you have a love for abstract and freaky poetry.
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Format: Paperback Verified Purchase
"From the very beginning I knew exactly what would kill me... And then, just like I knew it would, it came late one night, booming with slowness, from the fjords."

Fjords is a shot of caffeine to the imagination. Schomburg delivers not only the same old surrealism (but still oddly fresh), but he also adds his own spice which, more often than not, turned the volume knob to its max on his work. His organic visuals and settings of Scary, No Scary had an eerily smooth ride into my mind, but in this collection of works, he may have thumped the bass a bit on some pieces. However, this collection belongs to Schomburg, and rather than forcing the surrealism onto us (as in Scary, No Scary) he invited his audience into his imagination. His closing commentary on many of his works simply give us a thought to consider, rather than allowing us to think for ourselves.

Then again, that was the point. Schomburg is always in a battle with his audience's rational thinking - and since he knew we would be ready for it, he needed to up his game.

Which he did, marvelously.
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