Finalist for the 2023 Virginia Literary Awards
Finalist for the 2023 Eric Hoffer Book Award
Deeply phenomenological and ecological, Laura Bylenok’s poems in Living Room imagine the lived reality of other organisms and kinds of life, including animals, plants, bacteria, buildings, and rocks. They explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity. In particular, the poems consider so-called model organisms—nonhuman species studied to understand specific and often human biological processes, diseases, and phenomena—as well as an experience of self and world that cannot be objectively quantified. The impulse of these poems is to slow down, to see and feel, and to listen closely. Language becomes solid, palpable as fruit. Long lines propel breath and push past the lung’s capacity.
Life at a cellular level, synthesis and symbiosis, is revealed through forests, fairy tales, and vines that grow over abandoned houses and hospital rooms. A living room is considered as a room that is lived in and also a room that is alive. Cells are living rooms. A self is a room that shares walls with others. Interconnection and interplay are thematic, and the network of poems becomes a linguistic rendering of a heterogeneous and nonhierarchical ecosystem, using the language of biology, genetics, and neurochemistry alongside fairy tale and dream to explore the interior spaces of grief, motherhood, mortality, and self.
"synopsis" may belong to another edition of this title.
Laura Bylenok is an assistant professor of English at University of Mary Washington. She is the author of Warp, winner of the T. S. Eliot Prize, and the chapbook a/0.
Autotheory
The problem is everything
is human. Where to go from there?
I say I
don’t feel like myself.
I ate a little typhoid once, and the people there
instructed me without saying okay, vomit!
And no amount of listening
can generate knowledge of this kind.
I am, for example, eukaryote
before I am listening.
Mother, I
am listening for your instructions.
There’s a little window in my room
with bars set into the concrete sill
to keep the things inside in
and outside out
and just now the translucent polyester curtain
baby blue as an old eyelid
waves in and out
and waves in
some cumbia from a car stereo
and then a horn, then almost gone
before I recognize it, a gesture in the air
of antiseptic.
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Paperback. Condition: New. Finalist for the 2023 Virginia Literary Awards Finalist for the 2023 Eric Hoffer Book Award Deeply phenomenological and ecological, Laura Bylenok's poems in Living Room imagine the lived reality of other organisms and kinds of life, including animals, plants, bacteria, buildings, and rocks. They explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity. In particular, the poems consider so-called model organisms-nonhuman species studied to understand specific and often human biological processes, diseases, and phenomena-as well as an experience of self and world that cannot be objectively quantified. The impulse of these poems is to slow down, to see and feel, and to listen closely. Language becomes solid, palpable as fruit. Long lines propel breath and push past the lung's capacity. Life at a cellular level, synthesis and symbiosis, is revealed through forests, fairy tales, and vines that grow over abandoned houses and hospital rooms. A living room is considered as a room that is lived in and also a room that is alive. Cells are living rooms. A self is a room that shares walls with others. Interconnection and interplay are thematic, and the network of poems becomes a linguistic rendering of a heterogeneous and nonhierarchical ecosystem, using the language of biology, genetics, and neurochemistry alongside fairy tale and dream to explore the interior spaces of grief, motherhood, mortality, and self. Seller Inventory # LU-9781496232366
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Paperback. Condition: new. Paperback. Deeply phenomenological and ecological, Laura Bylenok's poems in Living Room imagine the lived reality of other organisms and kinds of life, including animals, plants, bacteria, buildings, and rocks. They explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity. In particular, the poems consider so-called model organisms-nonhuman species studied to understand specific and often human biological processes, diseases, and phenomena-as well as an experience of self and world that cannot be objectively quantified. The impulse of these poems is to slow down, to see and feel, and to listen closely. Language becomes solid, palpable as fruit. Long lines propel breath and push past the lung's capacity. Life at a cellular level, synthesis and symbiosis, is revealed through forests, fairy tales, and vines that grow over abandoned houses and hospital rooms. A living room is considered as a room that is lived in and also a room that is alive. Cells are living rooms. A self is a room that shares walls with others. Interconnection and interplay are thematic, and the network of poems becomes a linguistic rendering of a heterogeneous and nonhierarchical ecosystem, using the language of biology, genetics, and neurochemistry alongside fairy tale and dream to explore the interior spaces of grief, motherhood, mortality, and self. Living Room imagines the lived reality of other organisms and kinds of life to explore the permeability of human and nonhuman experience, intelligence, language, and subjectivity, and to consider an experience of self and world that cannot be objectively quantified. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9781496232366