Creature is a complex poetics of vitality, and it immaculately cleaves: even as it underscores how living in an inherently inhospitable environment will dispossess us of the world and one another, making animal of man, it sutures the rent evolutionary tree, glorifying the interdependence of each extant thing. Michael Dumanis expertly cultivates the multiplicity of language and makes of "creature" a marvelous contronym; we are a creature as in a beast, debased, beholden to nature, and we are creature as in an extension of creation, improbably sentient, mortal, here. In "Autobiography," the speaker attests to the contradiction at the root of cognizance: "Am, as an animal, // anxious. Appendages always aflutter, / am an amazing accident: alive." How does the human mammal embody both and neither -- communal and itinerant, leaving home to approach it, as an immigrant and a geographic nomad, as someone's child and another's parent, as being and thing? How do we negotiate our ouroboric identities while attuned to not just our own fragility, but an impending global extinction event? The answer is the absence of answer. "In the beginning, I thought a great deal / about death and sunlight, et cetera," Dumanis admits in "Squalor," but "The Double Dream of Spring" absolves us of outsmarting impermanence. "O what a ball I had, spending the days." And what should we do in this vernal brevity but exhaust it? We each only have so long to trace our hand "over the stony bones / that, fused together, hold [our] only face."
"synopsis" may belong to another edition of this title.
Michael Dumanis was born in the former Soviet Union and lived there until his parents were granted political asylum in the United States. He holds a BA from Johns Hopkins, an MFA from the University of Iowa Writers' Workshop, and a PhD from the University of Houston. The author of My Soviet Union, winner of the Juniper Prize for Poetry, and the co-editor of the anthology Legitimate Dangers: American Poets of the New Century, he is the recipient of the Lyric Poetry Award from the Poetry Society of America. He lives in Vermont, where he teaches at Bennington College and serves as editor of Bennington Review.
The Forecast
I carry myself out into the rainswept blur.
I lift my pleasant voice over the coming flood.
I have nothing to do that I’m going to do.
I keep meaning to purchase a dog. I keep waiting
to email you back. When I see you again will
I know who you are? Once I wove you a mask
of rattan and hair. Once I carved you a mask
of painted wood. I brushed my wooden leg
against your wooden leg. We had learned to imitate
each other’s breath. When I see you again will
you know who I am? Will you place your words back
into my open mouth? Once I held you for years
in the stones of my eyes. You were an ineluctable act of God.
Into the drainage ditch we hurled our toys.
"About this title" may belong to another edition of this title.
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Paperback. Condition: Like New. Creature is a complex poetics of vitality, and it immaculately cleaves: even as it underscores how living in an inherently inhospitable environment will dispossess us of the world and one another, making animal of man, it sutures the rent evolutionary tree, glorifying the interdependence of each extant thing. Michael Dumanis expertly cultivates the multiplicity of language and makes of "creature" a marvelous contronym; we are a creature as in a beast, debased, beholden to nature, and we are creature as in an extension of creation, improbably sentient, mortal, here. In "Autobiography," the speaker attests to the contradiction at the root of cognizance: "Am, as an animal, // anxious. Appendages always aflutter, / am an amazing accident: alive." How does the human mammal embody both and neither -- communal and itinerant, leaving home to approach it, as an immigrant and a geographic nomad, as someone's child and another's parent, as being and thing? How do we negotiate our ouroboric identities while attuned to not just our own fragility, but an impending global extinction event? The answer is the absence of answer. "In the beginning, I thought a great deal / about death and sunlight, et cetera," Dumanis admits in "Squalor," but "The Double Dream of Spring" absolves us of outsmarting impermanence. "O what a ball I had, spending the days." And what should we do in this vernal brevity but exhaust it? We each only have so long to trace our hand "over the stony bones / that, fused together, hold [our] only face.". Seller Inventory # 00096283529
Seller: World of Books (was SecondSale), Montgomery, IL, U.S.A.
Paperback. Condition: Good. Creature is a complex poetics of vitality, and it immaculately cleaves: even as it underscores how living in an inherently inhospitable environment will dispossess us of the world and one another, making animal of man, it sutures the rent evolutionary tree, glorifying the interdependence of each extant thing. Michael Dumanis expertly cultivates the multiplicity of language and makes of "creature" a marvelous contronym; we are a creature as in a beast, debased, beholden to nature, and we are creature as in an extension of creation, improbably sentient, mortal, here. In "Autobiography," the speaker attests to the contradiction at the root of cognizance: "Am, as an animal, // anxious. Appendages always aflutter, / am an amazing accident: alive." How does the human mammal embody both and neither -- communal and itinerant, leaving home to approach it, as an immigrant and a geographic nomad, as someone's child and another's parent, as being and thing? How do we negotiate our ouroboric identities while attuned to not just our own fragility, but an impending global extinction event? The answer is the absence of answer. "In the beginning, I thought a great deal / about death and sunlight, et cetera," Dumanis admits in "Squalor," but "The Double Dream of Spring" absolves us of outsmarting impermanence. "O what a ball I had, spending the days." And what should we do in this vernal brevity but exhaust it? We each only have so long to trace our hand "over the stony bones / that, fused together, hold [our] only face.". Seller Inventory # 00110857661
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Paperback. Condition: Like New. Creature is a complex poetics of vitality, and it immaculately cleaves: even as it underscores how living in an inherently inhospitable environment will dispossess us of the world and one another, making animal of man, it sutures the rent evolutionary tree, glorifying the interdependence of each extant thing. Michael Dumanis expertly cultivates the multiplicity of language and makes of "creature" a marvelous contronym; we are a creature as in a beast, debased, beholden to nature, and we are creature as in an extension of creation, improbably sentient, mortal, here. In "Autobiography," the speaker attests to the contradiction at the root of cognizance: "Am, as an animal, // anxious. Appendages always aflutter, / am an amazing accident: alive." How does the human mammal embody both and neither -- communal and itinerant, leaving home to approach it, as an immigrant and a geographic nomad, as someone's child and another's parent, as being and thing? How do we negotiate our ouroboric identities while attuned to not just our own fragility, but an impending global extinction event? The answer is the absence of answer. "In the beginning, I thought a great deal / about death and sunlight, et cetera," Dumanis admits in "Squalor," but "The Double Dream of Spring" absolves us of outsmarting impermanence. "O what a ball I had, spending the days." And what should we do in this vernal brevity but exhaust it? We each only have so long to trace our hand "over the stony bones / that, fused together, hold [our] only face.". Seller Inventory # CIN1954245769LN
Seller: World of Books Inc, Montgomery, IL, U.S.A.
Paperback. Condition: Good. Creature is a complex poetics of vitality, and it immaculately cleaves: even as it underscores how living in an inherently inhospitable environment will dispossess us of the world and one another, making animal of man, it sutures the rent evolutionary tree, glorifying the interdependence of each extant thing. Michael Dumanis expertly cultivates the multiplicity of language and makes of "creature" a marvelous contronym; we are a creature as in a beast, debased, beholden to nature, and we are creature as in an extension of creation, improbably sentient, mortal, here. In "Autobiography," the speaker attests to the contradiction at the root of cognizance: "Am, as an animal, // anxious. Appendages always aflutter, / am an amazing accident: alive." How does the human mammal embody both and neither -- communal and itinerant, leaving home to approach it, as an immigrant and a geographic nomad, as someone's child and another's parent, as being and thing? How do we negotiate our ouroboric identities while attuned to not just our own fragility, but an impending global extinction event? The answer is the absence of answer. "In the beginning, I thought a great deal / about death and sunlight, et cetera," Dumanis admits in "Squalor," but "The Double Dream of Spring" absolves us of outsmarting impermanence. "O what a ball I had, spending the days." And what should we do in this vernal brevity but exhaust it? We each only have so long to trace our hand "over the stony bones / that, fused together, hold [our] only face.". Seller Inventory # CIN1954245769G
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