Poetry. "What a complex and lovely book this is! Reading Elisa Gabbert's obsessively interior, technically rigorous poems is like listening in on the thoughts of a mind so fiercely observant and subtle that I find in them always some new twist, some surprising layer I hadn't noticed before. By turns moving and witty, sharp-eyed and impressionistic, Gabbert writes with technical sophistication and keen intelligence. This is a terrific book"--Kevin Prufer.
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"What a complex and lovely book this is! Reading Elisa Gabbert's obsessively interior, technically rigorous poems is like listening in on the thoughts of a mind so fiercely observant and subtle that I find in them always some new twist, some surprising layer I hadn't noticed before. By turns moving and witty, sharp-eyed and impressionistic, Gabbert writes with technical sophistication and keen intelligence. This is a terrific book" --Kevin Prufer
Elisa Gabbert's bold, confident, and unwavering poems pack a punch with every ending. They careen, dip and reverse. "It wants to keep / running forever, but / it can t stop stopping," she writes. Just when I think I want one of Gabbert's poems to go on forever, it screeches to a halt, but it is the perfect halt. This is not easy to do, but Gabbert has mastered the art of making a poem. --Noelle Kocot
It s a pleasure to listen to the opinions of the narrator of THE FRENCH EXIT. Clear-eyed imagery and wit control the anxiety: "[A] boy at the counter disappears / or I can see through him." Likewise, in a fine prose poem: "Do not be afraid of angering the birds. What angers the birds is fear." The energy throughout Gabbert s collection has the clip of the French exit itself--allons-y!--self-aware, self-sufficient, in control, in touch. --Caroline Knox
Elisa Gabbert's bold, confident, and unwavering poems pack a punch with every ending. They careen, dip and reverse. "It wants to keep / running forever, but / it can t stop stopping," she writes. Just when I think I want one of Gabbert's poems to go on forever, it screeches to a halt, but it is the perfect halt. This is not easy to do, but Gabbert has mastered the art of making a poem. --Noelle Kocot
It s a pleasure to listen to the opinions of the narrator of THE FRENCH EXIT. Clear-eyed imagery and wit control the anxiety: "[A] boy at the counter disappears / or I can see through him." Likewise, in a fine prose poem: "Do not be afraid of angering the birds. What angers the birds is fear." The energy throughout Gabbert s collection has the clip of the French exit itself--allons-y!--self-aware, self-sufficient, in control, in touch. --Caroline Knox
About the Author
Elisa Gabbert is the author of THE FRENCH EXIT (Birds, LLC, 2010) and the chapbooks Thanks for Sending the Engine (Kitchen Press, 2207) and, with Kathleen Rooney, That Tiny Insane Voluptuousness (Otoliths, 2008), a collaborative collection. She is the poetry editor of Absent and currently works at a software startup in downtown Boston.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Take A Pill,
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This review is from: The French Exit (Paperback)
This book is haunting in a good way, if that's possible. The concepts of reality, future, the moment, death & exiting are all common. Between tennis matches, no one knows what exactly happens, what is reality, what is dream, what is death? Gabbert's wordings are often blunt, but the point of the text reiterates itself like the concept of the "I" ego or even language's association: will clouds still be "clouds" etc. when the narrator is sleeping etc.? Taking cues from Sarte & Kafka, meaning becomes of importance to the narrator, & sleeping seems to be the most evocative image, as in dreaming when awake or asleep? People seem to pass like clouds in & out of the text, but what remains is narration & a stab taken at reality's unique way or even taking a pill to enter the doors of perception which flop open "like a night on film."
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