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HUNTERS POINT PRESS
Goodbye Letter
By Jeremy Sigler. Edited by Barney Kulok.
Concrete and permutational poems celebrating a serene atrophy of language, from the author of My Vibe
In his latest collection, Goodbye Letter, New York-based poet Jeremy Sigler (born 1968) deconstructs his very will to write, as he articulates, verbally and graphically, the implied obsolescence of language itself. The book feels less like a proper literary work (a book of poetry) and more like a manual for poetic survival. One poem reads like some sort of linguistic code that manages to murmur “it is what it is”; another is more classically “concrete,” reflecting on typewriter and pattern poems of past centuries; and another consists of a complete signature of unmarked blank pages (they await being torn out and curled up into a loose tube) as was the 19th-century prototype for the stethoscope, but used this time to listen in on the poet’s “speaking” heart. Sigler’s newest collection may be seen as a field guide to a poet’s last gasp.
STATUS: Forthcoming | 9/15/2020
This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com
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FORMAT: Pbk, 6.25 x 8.5 in. / 176 pgs. LIST PRICE: U.S. $29.95 LIST PRICE: CANADA $41.95 GBP £27.00 ISBN: 9780578576916 PUBLISHER: Hunters Point Press AVAILABLE: 9/15/2020 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Forthcoming AVAILABILITY: Awaiting stock TERRITORY: WORLD
Concrete and permutational poems celebrating a serene atrophy of language, from the author of My Vibe
Published by Hunters Point Press. By Jeremy Sigler. Edited by Barney Kulok.
In his latest collection, Goodbye Letter, New York-based poet Jeremy Sigler (born 1968) deconstructs his very will to write, as he articulates, verbally and graphically, the implied obsolescence of language itself. The book feels less like a proper literary work (a book of poetry) and more like a manual for poetic survival. One poem reads like some sort of linguistic code that manages to murmur “it is what it is”; another is more classically “concrete,” reflecting on typewriter and pattern poems of past centuries; and another consists of a complete signature of unmarked blank pages (they await being torn out and curled up into a loose tube) as was the 19th-century prototype for the stethoscope, but used this time to listen in on the poet’s “speaking” heart. Sigler’s newest collection may be seen as a field guide to a poet’s last gasp.
