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Sand Opera, by Philip Metres
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"Sand Opera is what political poetry must be like today in our age of seemingly permanent war."—Mark Nowak
Sand Opera emerges from the dizzying position of being named but unheard as an Arab American and out of the parallel sense of seeing Arabs named and silenced since 9/11. Polyvocal poems, arias, and redacted text speak for the unheard. Philip Metres exposes our common humanity while investigating the dehumanizing perils of war and its lasting effect on our culture.
From "Hung Lyres":
@
When the bombs fell, she could barely raise
her pendulous head, wept shrapnel
until her mother capped the fire
with her breast. She teetered
on the highwire of herself. She
lay down & the armies retreated, never
showing their backs. When she unlatched
from the breast, the planes took off again.
Stubborn stars refused to fall . . .
Philip Metres has written a number of books and chapbooks, most recently A Concordance of Leaves (Diode, 2013), abu ghraib arias (Flying Guillotine, 2011), To See the Earth (Cleveland State, 2008), and Behind the Lines: War Resistance Poetry on the American Homefront Since 1941 (University of Iowa, 2007). His work has appeared widely, including in Best American Poetry, and has garnered two NEA fellowships, the Thomas J. Watson Fellowship, four Ohio Arts Council Grants, the Anne Halley Prize, the Arab American Book Award, and the Cleveland Arts Prize. He teaches at John Carroll University in Cleveland, Ohio.
- Sales Rank: #135797 in Books
- Published on: 2015-01-13
- Original language: English
- Number of items: 1
- Dimensions: 7.00" h x 5.00" w x .25" l, .0 pounds
- Binding: Paperback
- 100 pages
About the Author
Philip Metres has written a number of books and chapbooks, most recently "A Concordance of Leaves" (Diode, 2013), "abu ghraib arias" (Flying Guillotine, 2011), "To See the Earth" (Cleveland State, 2008), and "Behind the Lines: War Resistance Poetry on the American Homefront Since 1941" (University of Iowa, 2007). His work has appeared widely, including in "Best American Poetry," and has garnered two NEA fellowships, the Thomas J. Watson Fellowship, four Ohio Arts Council Grants, the Anne Halley Prize, the Arab American Book Award, and the Cleveland Arts Prize. He teaches at John Carroll University in Cleveland, Ohio.
Most helpful customer reviews
6 of 6 people found the following review helpful.
POWERFUL!
By Charles Ellenbogen
I was going to say that this is less a book of poetry than a work of art, but a book of poetry is a work of art and especially these days, a work of hope. There are those about who are experimenting with the question of what it is that makes a book, and I would say that Metres belongs in what I take to be a small, thoughtful and provocative crowd. Not only has he drawn his inspiration from a wide variety of sources, he has included diagrams that overlay some poems, fingerprints and calligraphy.
Most visible - after the stunning cover art (http://aalkadhi.com/content/I_am_baghdad/) - are the redactions. In Guantanamo Diary, an excellent companion piece, they are political. Here too, they are poltical, but they are also art, negative space reclaimed, much in the spirit of a British artist I've always admired, Rachel Whiteread (https://www.gagosian.com/artists/rachel-whiteread/selected-works).
But Metres' use of the redaction is not a gimmick. From the title of the collection, StANDard OPERAting procedure, to the opening invocation in 'Illumination of the Martyrdom of St. Bartholomew' (if the flesh is the text of God / bid a voice to rise / / & rise again) to the closing prayer, 'Compline' (We lift the blinds, look out into ink / For light. My God, my God, open the spine binding our sight), Metres is a master of juxtaposition, placing words, images, even punctuation next to (and on top) of each other as he explores power, particularly the power of language, in the Iraqi conflict, in the cells of Guantanamo.
Consider the line quoted above from 'Compline.' It's the last poem of the collection, and by then almost every word of those lines carries tremendous weight. Who does Metres mean by 'we'? Does 'lift' have a positive connotation? Does it suggest physical force? What and who is blind? Blindfolded? And we see ink? Words? There's freedom there? Power? A reclaiming? And the first 'My God,' how should we say it? And what of the possessive? Whose God is it? The 'spine' of a book (as we get set to close Metres'?) "Binding' - Again, who is bound? Who's doing the binding? 'Our' - Again, first person plural. Who does it include? What does Metres want to see? Want us to see?
I could go on. But you should read it first.
5 of 5 people found the following review helpful.
The poet's personal connection to the pain and joy he explores can be felt on every page
By Amazon Customer
A dazzling book. Reminded me of a modern-day Howl - at once urgent and lyrical, contemporary and historical. The poet's personal connection to the pain and joy he explores can be felt on every page. An exciting read. Highly recommend.
3 of 3 people found the following review helpful.
Shock and Awe
By Timothy Liu
Metres reminds us that "Somewhere someone's hands danced / over a keyboard to deliver the ordnance." Here, drone strike and typescript poem dovetail uncomfortably in the figure of a dexterous manipulated dance, the keyboard also suggesting an organ or Moog synthesizer to score this operatic sand opus for all who have ears to hear. Such overlays are further echoed in this book as object, vellum over paper enacting claustrophobic fatalities: "And: this hole was where he died, where they drove through a berm, into the Tigris. They told me about the scratch marks. I tried not to look, but I couldn't stop thinking about him trying to scratch his way out, the tank filling with water." Told me about. Tried not to look. Couldn't stop thinking. This reminds me of poetry's moral imperative as antidote to social mayhem, exemplifying Roethke's quip how "in a dark time, the eye begins to see." And shocked and awed voices begin to sing.
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