Negro marfil / Ivory Black (Trenchart Recon Series)

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9781934254226: Negro marfil / Ivory Black (Trenchart Recon Series)
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Poetry. Latino/Latina Studies. Bilingual Edition. Translated from the Spanish by Jen Hofer. Winner of the 2012 Harold Morton Landon Translation Award from the Academy of American Poets. "Myriam Moscona's extraordinary book," writes Francine Masiello, "is a treatise on the senses." NEGRO MARFIL / IVORY BLACK, Myriam Moscona's first book translated into English, is a book-length experiment in inversions: at times the text can be read from left to right or vice versa, the poems reverberate from top to bottom or the other way around, at moments the book itself can be read backwards or forwards. The visual and the textual converse acrobatically. Binaries become multiples. As any painter knows, "Ivory Black," also known as "bone char," is the name of a color: to obtain ivory black bone is burned. Introduction by Francine Masiello and visual art by Renee Petropoulos.

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About the Author:

Myriam Moscona is from Mexico, of Bulgarian Sephardic descent. She is the author of nine books, from Ultimo jardín (1983) to De par en par (2009). Two of her published books are outside the realm of poetry, yet remain connected to poetry: De frente y de perfil (literary portraits of 75 Mexican poets) and De par en par, which explores the phenomenon of poetry beyond its traditional construction. When NEGRO MARFIL was conceived, Moscona focused on the use of visual materials (inks, pastels, graphite and acrylics), which led her to explore alternate means of expression. In this way she came to visual poetry: drawn in through the side doors of writing. Moscona has received numerous awards, including the Premio de Poesía Aguascalientes and the Premio Nacional de Traducción; she is a grantee of the Sistema Nacional de Creadores de Arte, and she was awarded a grant from the Guggenheim Foundation.

Review:

''Myriam Moscona's extraordinary book is a treatise on the senses.''--Francine Masiello

''Negro marfil approaches the fragment with a consciousness that the target of intelligible discourse will alwasy be frustrated, that we can only aspire to the marbled charcoal of the ink as it spills over, occluding univocal meaning.'' ----Jacobo Sefami, essayist, critic and UC Irvine professor

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