Fuhrman's fourth book of pop-surrealist lyrical poetry undermines contemporary constructs of beauty with an absurdist's eye for detail. She playfully manipulates the language of commodity culture to spark social awareness and inspire simultaneous laughter and mindful mortification.
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From Publishers Weekly
Fuhrman's fourth book of poems is as miscellaneous and daunting as a rummage sale. Her personal brand of what her publisher calls “pop-surrealism†has moments of hilarity, illumination, solemnity and insight, but is at times unwieldy and impenetrable. While the least coherent poems fail to hold much interest—it seems as if she rushes through her most fantastic images, leaving almost no time for them to unfold before moving on—Fuhrman (Moraine) is not above acknowledging her own obliqueness (“a puffy-head muffin might as well/ own every so-called 'emotion'/ what is a puffy head muffin anyway?â€), as if asking the reader to bear with her, which can be well worth the effort. Fuhrman's delightfully weird and most penetrating moments are a joy: “to be a writer... is to sing untranslatable lullabies to Brussels sprouts.†She can be simultaneously solemn and playful, such as in the discovery “that opera is only one of many strategies to combat happiness.†Taking the reader from “metaphysical gossip†all the way to the “Evil Boss Convention,†this collection is at once philosophical and frivolous. (Nov.)
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Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
"Forget New York poetry. Forget Language poetry. Forget desires for a totalizing poetics. Fuhrman is a leader in the particular, in 'infra-surrealism.' She taboos nothing; no form impedes her complete wit. This full poetry is not only 'feminine, marvelous, and tough,' but subtle, searching, and wounded—sexual, social, and smart. Fuhrman celebrates new truth-telling, an art of the spectacular pageant."—David Shapiro
"...some real poetic gems...we have the real poet."—Stride Magazine
“Joanna Fuhrman is a witty visionary for our virtual age. Her poems invite you not just to read but to become immersed in their delightfully protean postmodern landscapes. The work is both exotic and mundane, retro and futuristic at the same time. Pulsating with surround-sound and a panoply of ‘neon fluid’ special effects, this book startles as it entertains.”—Elaine Equi
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