In heteroglossia, the poet enacts a kind of self-mapping through influence: from the coordinates of people and places (real and imaginary) she looks for where and who she is. The world of heteroglossia is populated with fellow writers, the F train, sisters and mothers, “the most beautiful Taco Bell in the world,” mountains, post-Katrina New Orleans, West Texas, as well dimensions of season and the diurnal, “weather” being “central to what it is to be human.” And from them and the making of poems, an optimism about the world’s inconclusiveness and a looking ahead to the future answer-words, the ongoingness without a telos except for making.
Advance praise for heteroglossia:
heteroglossia is operatic and fresh. Reading it feels like a paper canoe is carrying me downriver through sycamores and amens—an often ecstatic and ever lyrical landscape rife with image and syntax that wakes the skin ("from the left margin of June")—into the very real and solid and bold ("women are told monstrous things / in the cool palms of stirrups"), the love and passion ("You are key, lock, bed clothes / pulled off. I am a register // you sing in.") and grief ("when I hear sirens / for a split second / it's carrying you") that hold us here.
—Laurin Becker Macios, Poetry Society of America
Lindsay Illich's heteroglossia is a work of exquisite wordplay. In these poems, language and the bodies that speak it are inextricably connected. Illich's work is fiercely intelligent, but always accessible. Her poems are serious, but the reader still finds moments of levity. These poems command not just your attention, but multiple re-readings. In heteroglossia we find love, loss, struggle, and humor. The work has a masterful sense of balance, and you will love language all the more after you read it.
—Allyson Whipple, author of We're Smaller Than We Think We Are and Come Into the World Like That
5.5 x 8.5
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