Some new reviews.
Here’s an excerpt of Eileen Myles’ piece on Peter Richards’ Helsinki:
Peter’s poem is a note from long ago which is now. Already happened fast. I mean he probably constructed these poems by a familiar pastiche method yet that’s almost suggesting that vocabulary or taste doesn’t trump method all the time. Pastiche is simply what we do and Peter’s cryptic and erotic sample is elegant and adventurous and small in a way that is alternately perverse, smiley and generally looking up. If there is a narrator here he is a gentleman, that is a choice. I would say he generally feels gay but not decorative. In his hands the homoerotic option feels expansive rather than opportunistic. Peter’s pallet is rich.
I like Myles’ reading style – associative and personal.
I like writing which gives me barbed wire and rashes. I do not like poetry which gives me sunshine and dilation. Dear Ra is just a heart-pounding high-pitched ceremony by a man gone ballistic, and it’s wonderful to read. I wonder, in fact, where Goransson can go from here, from this bravura cathartic performance. It seems he can only fly apart like a too-torqued machine, cogs, sprockets, and springs flying outward like brain matter. After linking in one breath a double gendered human, Tom Hanks, and prisoners of war; or pigeons, tennis rackets, nails, asthma, pigs, bees, and orifices; or leaking highways, barbed wire, and rashes in a great psychological bacchanal one wonders what could be next for this writer.