Author: David Kutz-Marks File Type: pdf With rhetorical estrangements that recall John Ashbery, and rhythms and ambitions that recall Wallace Stevens and Walt Whitman, the voice in these poems is nonetheless distinct, aware that its own time is finitea minor catarrh after which the throat clears and its nighttime againbut striving with each movement for the sublime. The poems challenge our identities, our thoughts, and our quarrels with each other as they dart back and forth between interior spaces and real human relationships. **Review Like a little mortal coil moonlighting as a halo trying to eat his own tail in a city with no other light, the voice that propels David Kutz-Markss Violin Playing Herself in a Mirror is tightly wound up with potential energies that, when released, unfurl into wildly kinetic verse. The metaphysical theatricality of Wallace Stevens, the artful tenderness of James Merrill, and the formal politics of John Ashbery all converge here in a debut of uncommon brio and pluck. Like the northern flicker, whose oculus he describes as brilliant and vacuous and moving as a prism, Kutz-Marks regards the world with an eye that issimultaneously, amazinglytransparent, auroral, and ever on the go.Srikanth Reddy, Program in Poetry and Poetics at the University of Chicago We tend to turn to poetryas poetry itself turnsto honor, investigate, propose, court, grieve, and speculate, and all these things happen with purpose in Violin Playing Herself in a Mirror. With this book Kutz-Marks amplifies what might have been and what might be.Dara Wier, author of Hat on a Pond The long, winding sentences that prevail in Violin Playing Herself in a Mirror might begin with Episcopal swimmers fluting their bodies and fluting their hands then move through the phases of the moon before landing on the eye of a horse on the quilt behind which we discover a child, growing up into a car. The logic that drives these transitions is itself always shifting, transforming (from narrative to visual, from associative to surreal), but Kutz-Markss dexterous musicality and surefooted structural sense never fail to hold his montages together and his audience at the edge of its seats. Refrain, parallelism, and other forms of repetition and doubling (nodded to twice in the books title alone) reinforce the works feeling of seamless enchantment, making Kutz-Markss debut one of the most artfully uncanny and hypnotically beautiful collections in recent memory.Timothy Donnelly, author of Twenty-seven Props for a Production of Eine Lebenszeit, and The Cloud Corporation About the Author David Kutz-Marks earned a BA in English language and literature from the University of Chicago and an MFA in creative writing from Columbia University. He was recently the featured poet for Verse Daily and The Paris-American, and his poems have appeared or are forthcoming in Boston Review, Kenyon Review Online, Western Humanities Review, Rattle, The Carolina Quarterly, Devils Lake, and Meridian. Kutz-Marks lives in Dunmore, Pennsylvania, with his partner and their two children.

Author: Conor McPherson File Type: epub One of the most successful plays of recent years, it ran for two years in the West End and transferred to Broadway and toured the UK. In a bar in a remote part of Ireland, the local lads are swapping spooky stories to impress a young woman from Dublin newly moved into the area...A spellbinder that transfixes you...No praise in fact is too high Guardian Dublin Carol On Christmas Eve, a Dublin undertaker is visited by his estranged daughter who wants him to face up to the past. McPherson writes like a dream...The play works an ingenious spell Daily Mail Port Authority Three interwoven lives a boy leaves home for the first time a man starts a job for which is unqualified a pensioner is sent a mysterious package...Overwhelmingly poignant...desolate, searing eloquence Evening Standard Come On Over A Jesuit priest, sent to investigate a miracle in his home town, reencounters the woman who loved him thirty years before. **About the Author Conor McPherson was born in 1971 in Dublin, where he still lives. He started writing and directing plays at university. An earlier collection, McPherson Four Plays, featured all his work up to The Weir.