Heidi Lynn Staples Noise Event

ISBN 13: 9781934103418

Noise Event

3.67 avg rating
( 12 ratings by Goodreads )
 
9781934103418: Noise Event

Poetry. "The state of mind here is Florida, its flora and fauna and beaches and high schools, and Heidi Lynn Staples is hearing it all, from birdsong ('shrill killy killy' to 'harsh kak kak') to boyfriends ('a really wonderful time in 7th period Stay unique! Maybe you won't want to marry me anymore'). A masterful listener and music-maker, Staples'S homophonic translations echo throughout the poems with a noise more joyful than any poet's made of language in recent memory. 'Of the language-powered poets on the poetic landscape, Heidi Lynn Staples is one of the only ones whose heart powers the machine.'"—Mary Karr

"I'm first in line to read anything Heidi Lynn Staples writes, and NOISE EVENT both reaffirms and increases my ardor. Here, the poetic 'I' is overtaken by the Floridic 'I,' and memoir as it is written today is shown to be irreconcilable with the contemporary biography of place. But it is the tension between the two that compels the reader forward; it is the music of the lines themselves—and Staples is among the most musical of poets—as they build upon, and call back to, one another, that makes the radical newness Staples achieves, especially in the section titled 'Barking at Clouds,' welcoming and engrossing."—Shane McCrae

"At least since John Donne described the naked body of his lover as 'O, my America, my Newfoundland, / My kingdom, safest when with one man mann'd,' America has had a troubled relationship to sex, geography, imperialism and metaphors. Bringing a wide range of formal and stylistic approaches (from google-y dada exercises to Steinian nonsense to letters to Elizabethan conceits), Heidi Lynn Staples writes about or rather in that wound. The most fundamental technique here is the use of an unsutured collage that bares the wound but does not offer us a way out or through. A letter to a boyfriend is brought together with colonial descriptions of the murder of Native Americans, the description of a romantic experience is brought together with factual descriptions of the land (America, Florida) but it is unsutured, the art of a trauma that can't be healed."—Johannes Göransson

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About the Author:

Heidi Lynn Staples's debut collection, GUESS CAN GALLOP, won the 2004 New Issues Poetry Prize. She is also the author of DOG GIRL (Ahsahta Press, 2007) and NOISE EVENT (Ahsahta Press, 2013), drawn from the ecology of her native Gulf Coast. She has also published a nonfiction work, Take Care Fake Bear Torque Cake (Caketrain, 2012). Her poems have been published in numerous journals and anthologies including Best American Poetry 2004, Chicago Review, DENVER QUARTERLY, Green Mountains Review, Ploughshares, Women's Studies Quarterly, and elsewhere. An Assistant Professor of English and the Learning Center Director at Piedmont College, Heidi lives in Athens, GA, with her husband, daughter, cat, and front- yard veggie patch.

From Booklist:

Staples’ third book of poetry is structured less like a collection of poems than a lexical event steeped in history, an exercise in sonic juxtaposition. Staples arranges homophonic nonsense syllables to create acoustic soundscapes, like jazzy scat or background noise. But the book’s seemingly endless, spirited experimentation finds geographic rooting in the southeastern U.S. One section includes acrostics composed from the names of Floridian flora and fauna, like MOON JELLYFISH, EASTERN OYSTER, and BALD CYPRESS. In “Florida Native,” Staples cobbles together yearbook inscriptions, diary excerpts, and passages from a seventeenth-century Spanish missionary’s guide to converting Timucuan natives, but she replaces nouns and verbs with the phrase “Florida native.” The result is a very strange speech act that manages somehow still to sound like a narrative. Throughout, Staples frustrates and entertains readers who insist on constructing meaning from the experience of reading her work. But she rewards stalwart attempts with interesting references (Staples takes the phrase “epiphytic orchids” from English naturalist A. R. Wallace’s Australasia) and familiar sightings of sandpipers and sunbathers in the shade of bright hibiscus. --Diego Báez

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Heidi Lynn Staples
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