The author's first book of new poetry published in the United States since the 1960s explores the limits of abstract, minimalist, and experimental concrete poetry.
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Following closely the fine retrospective of Lax's work, Love Had a Compass , comes his first U.S. collection of previously unpublished poems since 1962. Most of the poems are in Lax's maturest manner--that is, the poems appear as nearly straight vertical shapes, for each horizontal line is only a few short words at the longest, a single syllable or even one letter at the shortest. If they appeared in rhythmic units, they would often be a few couplets and would often rhyme. But these are poems of the page, meant to be watched as they slowly unfold, so that readers may let Lax's elemental images--sea, sun, water, etc.--conjure more specific counterparts out of their own particular, individual memories. This is highly participatory poetry that resembles painting (especially of such artists as Cezanne) and religion (especially religious contemplation) more than other writing in that it calls us to realize the essentiality and the sacredness of creation. Ray Olson
For 35 years, Lax has been living in self-exile, mostly on the Greek islands. Before leaving, he had already established himself in the forefront of the avant-garde, publishing experimental, abstract poetry that echoed the thunderous works of John Cage, William Burroughs, and the Abstract Expressionist painters while earning him acclaim and respect. This is the first volume of all-new poems he has published in America since the 1960s. Given to short lines arranged in long columns, Lax's poems link the natural and personal in simple, direct, deadpan narration. The simplicity can be misleading, not in its initially unnoticed depth or metaphor but in its very purity, its almost ascetic singleness of purpose: "each day/ the same/ walk up/ the hill/ same turns/ same shad/ ow of the tree/ each sta/ tion of/ the way/ takes on/ its own/ set of/ meanings." Lax has been working at the margins for a long time and has found a crisp and comfortable way of ordering and exploring his contemplations. This collection is not for everyone, but it is a essential for that special audience for truly avante-garde work.?Louis McKee, Painted Bride Arts Ctr., Philadelphia
Copyright 1997 Reed Business Information, Inc.
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Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. The Overlook Press: 1997. Small octavo. Hardcover in a dust jacket. First edition, first printing. Red and black boards with gilt lettering. Book and unclipped jacket are both near fine. Seller Inventory # 001855
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Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition stated. Number line beginning with 1. Near fine plus, if not fine hardback in near fine plus, if not fine dust jacket ($19.95). Only trivial signs of age/wear/previous use to book and dust jacket: primarily a barely noticeable 1/2 inch by 1/8 inch damp-stain to cloth of lower edge of rear cover and 'bleed' to dust jacket; and a nearly invisible 1/4 inch by 1/4 inch damp-stain to cloth of lower edge of front cover. Seller Inventory # 107211
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