Poetry. Literary Nonfiction. Following the 26-year poetic odyssey of her long poem Drafts, Rachel Blau DuPlessis invites readers, with DAYS AND WORKS, to embark with her on not just one but a plurality of voyages. In 2014, drawing on a 1914 translation of Hesiod's Works and Days appearing at the beginning of World War I, DuPlessis began to write, bent on dealing—as did Hesiod—with the insoluble oddity of being in the world and in our time. Both works are built of evocative awe and practical "life" advice, in which conflicting sensations of the textures of historical time, personal time, cosmological time all fold together, in all their contradictions and vectors of stimuli—desired and painful. DuPlessis's work, with rips of feeling, newspaper clippings, and senses of historical fate, represents the oddity of all these registers involving us in different emotional twists. How can so many opposite things and washes of multiple emotions occupy the same daily space? Are these movements through the highly saturated consciousness of modern life "a lexicon? A listing, a relocation?" DuPlessis answers in both form and language—with a sense of the generative and constant "between" in this work expanding the everyday into a mini-encyclopedic poem on an intimate scale. The text offers an evocative political poetics including feminist, eco-poetical and anti-war thinking. It is an intense and generous book.
Rachel Blau DuPlessis is the author of the multi-volume long poem Drafts (1986-2012), from Salt Publishing and Wesleyan, called "one of the major poetic achievements of our time" by Ron Silliman. Her post-Drafts books are Interstices (Subpress, 2014), Graphic Novella (Xexoxial Editions, 2015), along with the chapbooks Churning the Ocean of Milk (2014) and Poesis (Little Red Leaves, 2016). In 2017, DAYS AND WORKS (based loosely on Hesiod) came out from Ahsahta Press; and then AROUND THE DAY IN 80 WORLDS in 2018 from BlazeVOX [books] and the collage-poem Numbers in 2018 from Materialist Press. Her recent Purple Passages: Pound, Eliot, Zukofsky, Olson, Creeley and the Ends of Patriarchal Poetry (Iowa, 2012) is part of a trilogy of works about gender and poetics that includes The Pink Guitar: Writing as Feminist Practice and Blue Studios: Poetry and its Cultural Work. She has published three other critical books on modern poetry, fiction and gender, eight other books of poetry, and several anthologies, along with editing The Selected Letters of George Oppen (1990), The Oppens Remembered: Poetry, Politics, and Friendship (University of New Mexico, 2015), and co-editing The Objectivist Nexus.Author City: PHILADELPHIA, PA USA