BOOKS

 (re)iteration(s) FORTHCOMING Spring 2018!

  from Spuyten Duyvil Press

ORDER YOUR COPY FOR $12 TODAY!

Click to Buy Here or email jill.darling@gmail.com and I’ll send you an invoice to pay via paypal/credit card, and you’ll get the book in the mail as soon as it’s available.
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A city presents us with (environmental, social, cultural) contradictions, keeps us busy. One clears a space for the body (as have others: hence (re)iteration(s)) and then, and all the while, there are syllables, and as sure as there are failures and lessons, there is song. “how far you can go is another / direction   (unknown).” There is these poems singing into disconcerting realizations, resonating with uncertain times, questioning the relationship between present and past and their logics, dismantling and rebuilding (form) as a means of staying in flux, when “there is only one / response, forward.

–Linda Russo

Against a “secret nostalgic horror” that threatens our ability to be in the world (and our own lives) fully, Jill Darling deploys a subtle weave of repetition and revision that allows lyric innovation and cultural critique to work as one. This book brings into even sharper focus the poet’s astonishing ability to make the sensual texture of experience vivid as “a kind of counter logic” that aids (in part by exposing the contradictions in) our thinking and feeling. Where grief has sharpened insight (where “crows enter like lanterns”), the bullet wound opens as a “tunnel of flesh” which opens, further, into a subway that seems also to be a columbarium. These poems are deep voyages charting the betrayals and failures we need an
account of, in order to honor “the exceptional ordinary” which nourishes and supports our sense of social justice. –Laura Mullen

from (re)iterations:

bodies, as in

a girl, in green, a stair case, and a mosaic. I want to cover the light, an echo or planning each new shoot sprouting figure back, backed by lake-scented bubbles, slick shining, awkward ambling like whistles that rewind on the wind. I want to go lolling among fuchsia, dolls on display, doorknob turning over in time. A clue holds fast, a series, donuts or rainbow falter against the shimmer, languid scorn. I want to derive an orange operation, a tale or emotion in a bottle. I want to list each clue like a candle hanging from the end of a sword, sharp and melting.

 

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In A Geography of Syntax Jill Darling insists on a symbiotic relationship between the human and non-human (and thus, crosses out the concept of “nature’) even as these points cannot foreclose the countervailing forces of industrialism, urbanity, and, in general, human culture.  Yes, this is Romantic synesthesia, but the tools of the trade–simile (“these lines/ like flags of improvisation/ wrapped, in a record, surroundings/ resonating like a gift,”), metaphor (“photo reproductions, collage, behind glass/ contained by wooden parameters, who else can speak this,/ with or without the protection of glass”),  metonym (“Particulates/ of a symphony (the one repeated/repeatable refrain)”), synecdoche (“In a space of salt and fog/ violet: a circuit relays individual blades”)  and even pun (“The hysterical moment captures”)–are expertly handled.  –Tyrone Williams   

Cover art by Nicolette Rose     Order from Lavender Ink Press

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From Solve For:

No more than subtext my/your own text under every word only words falling waiting characters wasting letters under your breath above my words over under (knowing something waits under forgets to take) on the opposite of wondering the opposite forgetting, a springboard, no, sill of the flower pot. Placing one letter after another placing one letter after another placing each side by side (cleverly you thought but not this quickly may I remind you) if the pace precedes (I am) each character drifting into singular space taking shape.

available for free download from BlazeVox Books

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In Jill Darling’s beautiful small book — what is a book? — a green broken chair or a white wall might be what the speaker walks through, “moves according to,” in order to ask questions of a beloved no longer present. This is writing in the past-future tense, navigating a space of loss even as it records the details of a world unfolding, as in childhood, before her eyes and under the touch of her palm.   –Bhanu Kapil

Cover art by Nicolette Rose  

Order from Finishing Line Press, or from Amazon

 

poetic voices without borders

This international anthology crosses borders in many metaphorical senses. The edgy collection includes poetry by nearly 150 poets from six continents written in English, French, and Spanish.

Order from Amazon

 

 

 

 

resist much

50% of all net sales receipts donated to Planned Parenthood. Order Here.

 

 

 

 

 

intersection of three

at the intersection of 3

Order from Dancing Girl Press 

 

 

 

 

 

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The First Steps are the Deepest

Cover art by Nicolette Rose

Order from Frog Island Press

 

 

 

 

 

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Sex in the Library is an anthology of nine provocative, text-based performance pieces by members of the Writing for Performance class at Eastern Michigan University (Winter 2012). These texts represent an extensive range of textual and performance strategies examined and actualized over the course of the semester. The texts are captivating on the page: visually, linguistically, syntactically, and in terms of their performative, textual presentations. Each piece further points to its own dramatic realization off the page. From a musical score to an improvisational divination, the work included here is smart and dynamic, serious and hilarious, and of the caliber and genre-busting spirit of great Poets Theater work.

Order from Frog Island Press

 

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