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Just Saying

by Rae Armantrout

In Just Saying, improbable and even untenable speakers are briefly constituted--only to disappear. The result is part carnival, part nightmare. A television pundit's rhetoric segues into an unusual succulent with writhing maroon tongues. When the world suddenly becomes legible, is that revelation or psychosis? In this book, the voice of the Lord and/or the voice of the security state can come from anyplace. The problem of identity becomes acute. The poems in Just Saying may be imagined as chimeras, creatures that appear when old distinctions break down and elements generally kept separate combine in new ways. Here Armantrout both worries (as a dog worries a bone) and celebrates the groundless fecundity of being and of language.

Money Shot

by Rae Armantrout

The poems in Money Shot are forensic. Just as the money shot in porn is proof of the male orgasm, these poems explore questions of revelation and concealment. What is seen, what is hidden, and how do we know? Money Shot's investigation of these questions takes on a particular urgency because it occurs in the context of the suddenly revealed market manipulation and subsequent "great recession" of 2008-2009. In these poems, Rae Armantrout searches for new ways to organize information. What can be made manifest? What constitutes proof? Do we "know it when we see it"? Looking at sex, botany, cosmology, and death through the dark lens of "disaster capitalism," Armantrout finds evidence of betrayal, grounds for rebellion, moments of possibility, and even pleasure, in a time of sudden scarcity and relentless greed. This stunning follow-up to Versed--winner of the Pulitzer Prize and the National Book Critics Circle Award, and a finalist for the National Book Award--is a wonderfully stringent exploration of how deeply our experience of everyday life is embedded in capitalism.

Versed

by Rae Armantrout

Rae Armantrout has always organized her collections of poetry as though they were works in themselves. Versed brings two of these sequences together, offering readers an expanded view of the arc of her writing. The poems in the first section, Versed, play with vice and versa, the perversity of human consciousness. They flirt with error and delusion, skating on a thin ice that inevitably cracks: "Metaphor forms / a crust / beneath which / the crevasse of each experience." Dark Matter, the second section, alludes to more than the unseen substance thought to make up the majority of mass in the universe. The invisible and unknowable are confronted directly as Armantrout's experience with cancer marks these poems with a new austerity, shot through with her signature wit and stark unsentimental thinking. Together, the poems of Versed part us from our assumptions about reality, revealing the gaps and fissures in our emotional and linguistic constructs, showing us ourselves where we are most exposed.

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