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It's go in horizontal: Selected Poems, 1974-2006 (New California Poetry) Paperback

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Product Details

  • Series: New California Poetry
  • Paperback: 257 pages
  • Publisher: University of California Press; 1 edition (April 8, 2008)
  • Language: English
  • ISBN-10: 0520254627
  • ISBN-13: 978-0520254626
  • Product Dimensions: 8.9 x 6 x 0.7 inches
  • Shipping Weight: 12 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #996,094 in Books (See Top 100 in Books)

Editorial Reviews

From Publishers Weekly

Most often classified with the language poets, Scalapino is shown in this welcome overview to have developed a distinctive idiom, as fresh and powerful here as when first published in 14 mostly small press editions. Scalapino fuses a richly detached Buddhist mindfulness with an algorithmically precise disjunctive syntax to explore sex, gender and violence—their politics and their moment-to-moment embodiedness. The longish, serial form that she favors works well in the selected format when the poems are presented in full. Highlights include the title piece from Considering how exaggerated music is (1982), which relates a set of attitudes toward others shocking in its blank frankness, and The Floating Series, from 1988's Way, which turns an act of intercourse into a stop-motion tour-de-force, as if filmed by Muybridge and analyzed by Lacan. Many other poems appear in excerpt, with results that can be frustrating—as with the poetically captioned photographs of Crowd or Not Evening or Light (1992) or 'Can't' Is 'Night' (from 2007's Day Ocean State of Stars' Night)—but only because one wants to see the works resolve. Readers of Bernadette Mayer, Alice Notley or Ai who haven't discovered Scalapino should use this volume to do so. (Apr.)
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“Scalapino is shown in this welcome overview to have developed a distinctive idiom.”
(Publishers Weekly 2008-04-21)

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3 of 3 people found the following review helpful By Ted Burke on August 25, 2008
Format: Paperback
Laying out a poem like it were a trail of bread crumbs a reader would to the bigger feast of The Point Being Made is not how writer Leslie Scalapino writes. As we find ourselves in a time when the popular idea of the poet and their work they compose seems slanted toward the lightly likable Billy Collins and others witing poems that can be grasped, shared, written out in a fine hand on perfumed paper and preserved between the leaves of a dictionary of quotations. Scalapino requires not the casual gaze but the harder view, the more inquisitive eye. Scalapino brings a refreshing complexity to her work, a sanguine yet inquisitive intelligence that is restless and dissatisfied with the seemingly authorized narrative styles poets are expected to frame their ideas with. The framing, so to speak, is as much the subject in her poems and prose, and the attending effort to interrogate the methods one codifies perception to the exclusion of details not fitting a convenient structure, Leslie Scalapino has produced a body of work of rare and admirable discipline; the writing is a test of the limits of generic representation.Her work as well is an inquiry in how we might exist without them.

In as series of over nineteen books over published since the seventies, she has been one of the most interesting poets working , an earnest inquisitor of consciousness and form blurring and distorting the boundaries that keep poetry, prose, fiction and auto biography apart.It's Go in Horizontal is a cogent selection from three decades of writing.
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3 of 3 people found the following review helpful By Kevin Killian HALL OF FAME on July 31, 2008
Format: Paperback
Though she has had volumes of selected work before ( I remember the Talisman House "Green and Black" with especial fondness), Leslie Scalapino's new book from University of California Press is very much a new starting out for the poet, a point of departure in which she seems to take delight in finding a pathway back--into the past, all the way through to the early 70s, and simultaneously writing her way into the future with samples of new sequences not even finished yet. This is not the book of someone complacent nor braggy about what anyone else would consider a magnificent accomplishment. To me she has always had the attitude of (in this one way) a child, a child at the ocean who comes to you with her hands filled with seaweed dripping with shells and starfish, whispering, see all I have gathered for you! And thus it is with "It's go in horizontal," even the epigraph of which speaks of her work in poetry as both "minute" (a la Dickinson) and "voluptuous" (like Klimt or Marsden Hartley, or like Petah Coyne, whose voluptuous photos of flowers adorn the cover here). The blurbs speak of Scalapino as an original, well, that is an understatement, and yet what makes her work so valuable is the beautiful way she has of connecting with her audience, she is totally empathic, like the donkey in Bresson, we identify with her process completely, that of a human being struggling to stay true to consciousness in a century that wants to squash it flat for the sake of convenience.

And though she has left right out of the running some of my favorite books by her, including "Goya's L.A,.," "Defoe," "The Pearl," "R-hu," what remains is a startlingly new and wonderfully realized voyage into the real, as well as a demonstration of just how many modes she has successfully worked in.
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