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Editorial Reviews
From Publishers Weekly
Starred Review. In her charged and daring debut, Weise artfully interweaves biographical details with meditations on the history of disability and sex, laying bare the complexities of finding sexual and emotional intimacy as an amputee with a prosthetic leg. In three sections, her assured voice masterfully navigates the potential pitfalls of her subject matter—from the risk of self-pity (there is none here) to the difficulties of speaking for her community. In the first section, evidence of this speaker's disability is hidden, ignored, or the object of curiosity and desire ("Your favorite post-coital pastime/ is nicknaming my scars"); it is also a fiercely guarded possession ("...I caught/ you staring at the railroad tracks/ along my spine, and I thought/ Mine, mine"). Part two borrows impersonal medical language to poetically redress the terminology of pain: "When and how did your pain problem start?... He met me in a dark alley." The third section imagines life and love alongside a character named "Holman." Weise also reproduces the cruelest examples of male fascination, as when the speaker's grandfather calls her the "prettiest cripple I ever seen." An agile and powerful poet, Weise references medical literature, history and poetry, speaking boldly and compassionately about a little-discussed subject that becomes universal in her careful hands. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Josh Bell, author of No Planets Strike
"With deadpan heartbreak and powerful invention, Jillian Weise raids the border-territories between the human body and the arts, creating in her poetry a devastating imaginary space where immortal representations of face, limb and torso jostle and translate (beautifully, dangerously) into the transient flesh and bone of the perceived real world. The body of the Mona Lisa is imagined in a wheelchair, a lover's body transforms into Michelangelo's David (which is not as nice as it might sound), and the speaker breaks into and out of various coporealities with the controlled panic of a career safecracker. Bodies, this poet tells us, `are nothing...are everything,' and one gets the sense that Weise feels the same way about the poems she inhabits, so physical is her relationship to the language she employs, masterfully, to embody the ineffable. This is a lovely and unsettling debut."
See all Editorial Reviews
Starred Review. In her charged and daring debut, Weise artfully interweaves biographical details with meditations on the history of disability and sex, laying bare the complexities of finding sexual and emotional intimacy as an amputee with a prosthetic leg. In three sections, her assured voice masterfully navigates the potential pitfalls of her subject matter—from the risk of self-pity (there is none here) to the difficulties of speaking for her community. In the first section, evidence of this speaker's disability is hidden, ignored, or the object of curiosity and desire ("Your favorite post-coital pastime/ is nicknaming my scars"); it is also a fiercely guarded possession ("...I caught/ you staring at the railroad tracks/ along my spine, and I thought/ Mine, mine"). Part two borrows impersonal medical language to poetically redress the terminology of pain: "When and how did your pain problem start?... He met me in a dark alley." The third section imagines life and love alongside a character named "Holman." Weise also reproduces the cruelest examples of male fascination, as when the speaker's grandfather calls her the "prettiest cripple I ever seen." An agile and powerful poet, Weise references medical literature, history and poetry, speaking boldly and compassionately about a little-discussed subject that becomes universal in her careful hands. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Josh Bell, author of No Planets Strike
"With deadpan heartbreak and powerful invention, Jillian Weise raids the border-territories between the human body and the arts, creating in her poetry a devastating imaginary space where immortal representations of face, limb and torso jostle and translate (beautifully, dangerously) into the transient flesh and bone of the perceived real world. The body of the Mona Lisa is imagined in a wheelchair, a lover's body transforms into Michelangelo's David (which is not as nice as it might sound), and the speaker breaks into and out of various coporealities with the controlled panic of a career safecracker. Bodies, this poet tells us, `are nothing...are everything,' and one gets the sense that Weise feels the same way about the poems she inhabits, so physical is her relationship to the language she employs, masterfully, to embody the ineffable. This is a lovely and unsettling debut."
See all Editorial Reviews
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