By Peter Balakian
Widely identified for his memoir and nonfiction at the Armenian genocide, Peter Balakian can also be an comprehensive poet, and Ziggurat is his first publication of poems in 9 years. Exploring heritage, self, and mind's eye, in addition to his ongoing matters with disaster and trauma, lots of Balakian’s new poems strive against with the aftermath and reverberations of Sep 11.
no matter if reliving the development of the realm alternate Towers within the artistic forty-three part poem that anchors the e-book, strolling the ruins of the Bosnian nationwide Library in Sarajevo, meditating on Andy Warhol’s silk monitors, or contemplating the confluence of song, language, and reminiscence, Balakian keeps his meditations on heritage, in addition to the harshness and wonder of up to date existence, that his readers have loved through the years. In a sensual, layered, and infrequently elliptical language, Balakian in Ziggurat explores absence, warfare, love, and paintings in a brand new age of yankee uncertainty.
“Peter Balakian’s Ziggurat ingests calamity and dissolves it into virtually exhilarating rhythm and snapshot, pushing the language till it appears like it’s breaking into anything new. The paintings goals to bare the human capability to combine and, after not easy passage, transcend.”—Sven Birkerts
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Extra resources for Ziggurat
15. We held out for Valentine and Virgin Mary. In cold hard light. Worm Moon and no sap in trees, there was blood on our sheets. The pipes were frozen. Chinese kites stuck on wires. We painted each other in the I-love-you dyes of expectation and faith, each red letter stamped jagad-a-krese: in Armenian: written on your forehead: fate—Armenian nuance: it’s on you, others see it—you don’t. In the end I couldn’t come through for you, and the end was the beginning of late February: entitled, luscious, leap-year.
The air of the stockroom after lunch was the marbleized silence of the small blank pages she stitched into privacy. Air of paper and faint glue bond, carbon, graph, yellow pads, in the stockroom I could read alone— the confetti of money dissolved on the blank wall. After work, I slid the numbered poems on blue mimeo into my playbook, and felt the open field the zig-zagging past cornerbacks, the white lines skewed to heaven. 53 Excuse my mood—unbridled, chemical, her scrawled messages smooth to the mind, excuse my absence, again and yes, then, too— the cold stone of the Palisades was there after we split— alone naked in the Hudson, the water greasing me in the tepid, chemical mix, before I returned to the cement of 9w in my father’s Skylark the night black and soundless within.
Stared at the iBook. Walked around. No phone service. The cell’s dead too. 37 29. “Dalí once told me my work was related to John of the Cross. ” You thought melting clocks was a cheap gimmick like most of surrealism and Dalí: hyper, overwrought, esthete, but Kline caught Dr. J and Nijinsky in a stroke; he saw the truth about us in diagonal slashes. 30. Days I was almost fired; checks late to the bank; mail in piles by the meter machine. The grillages transfixed us: twenty-eight grillages supporting the columns of the elevator core of the North Tower, core box-shaped columns and box beam framing.