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What We're Left With - Ben Murray - Bog

Bag om What We're Left With

The poems in Ben Murray'' s debut collection, What We'' re Left With, reflect on disconnection as a feature of contemporary urban experience. Murray'' s poems tackle themes of isolation, loneliness and human separation from nature. Murray creates trademark images of surprising loneliness and suburban angst: sog-white mornings/ of caffeinated mouths/ mating Cheerios/ O to empty O. The poet longs for mall-free days of sprawling languid under a pre-cancerous sun when we hurry up/ and wait, to become men. Writing about climate change, the poet asks how long until hibernating bears/ shake November from their sleep-under fur/ and start snorting around for off-season/ bargains. Capable of many different registers, Murray writes, in assumed voices, of grief and memory beyond his own immediate experience, something he describes as tapping into some larger collective autobiography.

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  • Sprog:
  • Engelsk
  • ISBN:
  • 9781897142295
  • Indbinding:
  • Paperback
  • Sideantal:
  • 96
  • Udgivet:
  • 15. august 2007
  • Størrelse:
  • 143x216x8 mm.
  • Vægt:
  • 138 g.
  • Ukendt - mangler pt..

Normalpris

  • BLACK WEEK

Medlemspris

Prøv i 30 dage for 45 kr.
Herefter fra 79 kr./md. Ingen binding.

Beskrivelse af What We're Left With

The poems in Ben Murray'' s debut collection, What We'' re Left With, reflect on disconnection as a feature of contemporary urban experience. Murray'' s poems tackle themes of isolation, loneliness and human separation from nature. Murray creates trademark images of surprising loneliness and suburban angst: sog-white mornings/ of caffeinated mouths/ mating Cheerios/ O to empty O. The poet longs for mall-free days of sprawling languid under a pre-cancerous sun when we hurry up/ and wait, to become men. Writing about climate change, the poet asks how long until hibernating bears/ shake November from their sleep-under fur/ and start snorting around for off-season/ bargains. Capable of many different registers, Murray writes, in assumed voices, of grief and memory beyond his own immediate experience, something he describes as tapping into some larger collective autobiography.

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