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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
Published by Hunters Point Press. 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.
