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100 Notes on Violence (Sawtooth Poetry Prize) Paperback – January 15, 2010
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From Publishers Weekly
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
"'The book about violence must be a book of quotations' according to Julie Carr in 100 Notes on Violence, 'For everyone speaks about violence.' Few have spoken or written on the subject with the desperate accuracy and the incendiary beauty of this disturbing, necessary book. Here, the quotations include statistics and news reports as well as the more traditional poetic forms, all to engage finally a light like that of the sun, 'its daily insurrection, daily assault.'" --Bin Ramke
Top Customer Reviews
My favorite pieces were prosody, and the ones that got very real and very graphic very quickly. I can see how, if that were the whole book, no one would be able to digest it. At least, not all at once.
The whole thing is a push and pull.
I liked it.
But I like the progression of the text. I like how Carr's notes build upon each other. How the second line of the text is
I'm attracted to children, feet like little suns
and it isn't until note 30 and beyond that we again see "feet like little suns" and hints of pedophilia. I like witnessing a note ending and another starting so similarly, with the same words, speaking of the same subject, etc. I wasn't bored. I also wasn't enamored. I have no doubts that Carr is a brilliant poet, and I too commend her discussion of violence, but I cannot imagine that she was rightfully chosen as the winner of the Sawtooth Prize. This is not to say that I did not like 100 Notes on Violence: quite the contrary. I liked it, but I wonder if I understood it, if it is not the subject that is award-winning instead of the poetry found within the pages.
The first thing I noticed immediately is the way I am enamored by Carr's half-rhyme. I wanted to note each instance of it in the margins, but after the first note, I quickly realized that it would take more time than I have to offer such a project. I did note, however,
My son is wroth, my daughter too, and me, myself, I am wroth. A fugitive
on the earth, and a vagabond. (49)
This, and coupling "airspace" with "delay," not only for its descriptive connotations, but for its meter, its sound. I too liked more overt rhyming, as found later in "happy air - green green canopy - not to be timid - not to be impeded" (92).Read more ›