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School of Udhra by Mackey, Nathaniel
by Mackey, Nathaniel | PB | Acceptable
US $9.61
ApproximatelyΒ£7.10
Condition:
βReadable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend β... Read moreAbout condition
Acceptable
A book with obvious wear. May have some damage to the book cover but the book is still completely intact. The binding may be slightly damaged around the edges but it is still completely intact. May have some underlining and highlighting of text and some writing in the margins, but there are no missing pages or anything else that would compromise the readability or legibility of the text. See the sellerβs listing for full details and description of any imperfections.
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Estimated between Thu, 12 Jun and Mon, 16 Jun to 94104
Located in: Aurora, Illinois, United States
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eBay item number:197172361230
Item specifics
- Condition
- Acceptable
- Seller notes
- Binding
- Paperback
- Weight
- 0 lbs
- Product Group
- Book
- IsTextBook
- No
- ISBN
- 9780872862784
About this product
Product Identifiers
Publisher
City Lights
ISBN-10
087286278X
ISBN-13
9780872862784
eBay Product ID (ePID)
10038489798
Product Key Features
Book Title
School of Udhra
Number of Pages
144 Pages
Language
English
Topic
American / African American, General
Publication Year
1993
Genre
Poetry
Format
Trade Paperback
Dimensions
Item Height
0.3 in
Item Weight
5.6 Oz
Item Length
9 in
Item Width
5.5 in
Additional Product Features
Intended Audience
Trade
LCCN
93-021774
Reviews
Nathaniel Mackey has said that in language we inherit the voices of the dead. In School of Udhra he transcribes immeasurable spaces of the dispossessed who call him runaway. This writing increasingly unleashes each skittish letter into the risk of syllabic stutter 'vatic scat' stagger. How else ever re-trace or re-member the speaker of a ghost in sentences we step across. Words, or segments of lines, stab, cut, rift, rend, relate, blaspheme, and bless., 'Purgatorial stealth' (as School of Udhra puts it), within a startling progression, I find of imageries, becomes the poem's enigmatic, seductive, sometimes wavering, sliding traverse of a spiritual wilderness. I have no doubt that the book is a remarkable and daring testament that needs to be read and re-read for the unpredictable measure of involved enchantment it unfolds... A book of haunted pleasure., "'Purgatorial stealth' (as School of Udhra puts it), within a startling progression, I find, of imageries, becomes the poem's enigmatic seductive, sometimes wavering, sliding traverse of a spiritual wilderness. I have no doubt that the book is a remarkable and daring testament that needs to be read and re-read for the unpredictable measure of involved enchantment it unfolds . . . A book of haunted pleasure."--Wilson Harris, Palace of the Peacock "Nathaniel Mackey has said that in language we inherit the voices of the dead. In School of Udhra he transcribes immeasurable spaces of the dispossessed who call him runaway. This writing increasingly unleashes each skittish letter into the risk of syllabic stutter 'vatic scat' stagger. How else ever re-trace or re-member the speaker of a ghost in sentences we step across. Words or segments of lines, stab, cut, rift, rend, relate, blaspheme, and bless."--Susan Howe, My Emily Dickinson
Dewey Decimal
811/.54
Synopsis
School of Udhra takes its title from the Bedouin poetic tradition associated with the seventh-century Arab poet Djamil, the Udhrite school of poets who, "when loving die." Bedouin tradition, however, is only one of the strands of world revery these poems have recourse to. They obey a "bedouin" impulse of their own--fugitive, moving on, nomadic. Ogo the fox, the Dogon avatar of singleness and unrest, runs throughout, crossing and recrossing divided ground, primal isolate, insistent within the book's cross-cultural weave. The poems track variances of union and disunion--social, sexual, mystic, mythic--both formally and in their content. They return rhapsody to its root sense: stitching together. Threads ranging through ancient Egypt, shamanic Siberia, Rastafarian Jamaica and elsewhere figure in, inflected by conjunctive and disjunctive cadences inspired by jazz, Gnaoua trance-chant, cante jando and other musics. "'Purgatorial stealth' (as School of Udhra puts it), within a startling progression, I find, of imageries, becomes the poem's enigmatic seductive, sometimes wavering, sliding traverse of a spiritual wilderness. I have no doubt that the book is a remarkable and daring testament that needs to be read and re-read for the unpredictable measure of involved enchantment it unfolds . . . A book of haunted pleasure."--Wilson Harris, Palace of the Peacock "Nathaniel Mackey has said that in language we inherit the voices of the dead. In School of Udhra he transcribes immeasurable spaces of the dispossessed who call him runaway. This writing increasingly unleashes each skittish letter into the risk of syllabic stutter 'vatic scat' stagger. How else ever re-trace or re-member the speaker of a ghost in sentences we step across. Words or segments of lines, stab, cut, rift, rend, relate, blaspheme, and bless."--Susan Howe, My Emily Dickinson Nathaniel Mackey, recipient of a 1993 Whiting Writers' Award, is the author of Eroding Witness (1985), Whatsaid Serif (City Lights, 1998), Atet A.D. (City Lights, 2001), Bedouin Hornbook (1986) and Djbot Baghosus's Run (1993), as well as Discrepant Engagement: Dissonance Cross-Culturality, and Experimental Writing (1993). He has taught at the University of California, Santa Cruz and Duke University., School of Udhra takes its title from the Bedouin poetic tradition associated with the seventh-century Arab poet Djamil, the Udhrite school of poets who, "when loving die." Bedouin tradition, however, is only one of the strands of world revery these poems have recourse to. They obey a "bedouin" impulse of their own--fugitive, moving on, nomadic. Ogo the fox, the Dogon avatar of singleness and unrest, runs throughout, crossing and recrossing divided ground, primal isolate, insistent within the book's cross-cultural weave. The poems track variances of union and disunion--social, sexual, mystic, mythic--both formally and in their content. They return rhapsody to its root sense: stitching together. Threads ranging through ancient Egypt, shamanic Siberia, Rastafarian Jamaica and elsewhere figure in, inflected by conjunctive and disjunctive cadences inspired by jazz, Gnaoua trance-chant, cante jando and other musics. "' Purgatorial stealth ' (as School of Udhra puts it), within a startling progression, I find, of imageries, becomes the poem's enigmatic seductive, sometimes wavering, sliding traverse of a spiritual wilderness. I have no doubt that the book is a remarkable and daring testament that needs to be read and re-read for the unpredictable measure of involved enchantment it unfolds . . . A book of haunted pleasure."--Wilson Harris, Palace of the Peacock "Nathaniel Mackey has said that in language we inherit the voices of the dead. In School of Udhra he transcribes immeasurable spaces of the dispossessed who call him runaway. This writing increasingly unleashes each skittish letter into the risk of syllabic stutter 'vatic scat' stagger. How else ever re-trace or re-member the speaker of a ghost in sentences we step across. Words or segments of lines, stab, cut, rift, rend, relate, blaspheme, and bless."--Susan Howe, My Emily Dickinson Nathaniel Mackey, recipient of a 1993 Whiting Writers' Award, is the author of Eroding Witness (1985), Whatsaid Serif (City Lights, 1998), Atet A.D. (City Lights, 2001), Bedouin Hornbook (1986) and Djbot Baghosus's Run (1993), as well as Discrepant Engagement: Dissonance Cross-Culturality, and Experimental Writing (1993). He has taught at the University of California, Santa Cruz and Duke University., School of Udhra takes its title from the Bedouin poetic tradition associated with the seventh-century Arab poet Djamil, the Udhrite school of poets who, "when loving die." Bedouin tradition, however, is only one of the strands of world revery these..., School of Udhra takes its title from the Bedouin poetic tradition associated with the seventh-century Arab poet Djamil, the Udhrite school of poets who, "when loving die." Bedouin tradition, however, is only one of the strands of world revery these poems have recourse to. They obey a "bedouin" impulse of their own--fugitive, moving on, nomadic. Ogo the fox, the Dogon avatar of singleness and unrest, runs throughout, crossing and recrossing divided ground, primal isolate, insistent within the book's cross-cultural weave. The poems track variances of union and disunion- social, sexual, mystic, mythic- both formally and in their content. They return rhapsody to its root sense: stitching together. Threads ranging through ancient Egypt, shamanic Siberia, Rastafarian Jamaica, and elsewhere figure in, inflected by conjunctive and disjunctive cadences inspired by jazz, Gnaoua trance-chant, cante jando , and other musics. "' Purgatorial stealth ' (as School of Udhra puts it), within a startling progression, I find, of imageries, becomes the poem's enigmatic seductive, sometimes wavering, sliding traverse of a spiritual wilderness. I have no doubt that the book is a remarkable and daring testament that needs to be read and re-read for the unpredictable measure of involved enchantment it unfolds . . . A book of haunted pleasure." --Wilson Harris, Palace of the Peacock "Nathaniel Mackey has said that in language we inherit the voices of the dead. In School of Udhra he transcribes immeasurable spaces of the dispossessed who call him runaway. This writing increasingly unleashes each skittish letter into the risk of syllabic stutter 'vatic scat' stagger. How else ever re-trace or re-member the speaker of a ghost in sentences we step across. Words or segments of lines, stab, cut, rift, rend, relate, blaspheme, and bless." --Susan Howe, My Emily Dickinson Nathaniel Mackey, recipient of a 1993 Whiting Writers' Award, is the author of Eroding Witness (1985), Whatsaid Serif (City Lights, 1998), Atet A.D. (City Lights, 2001), Bedouin Hornbook (1986), and Djbot Baghosus's Run (1993), as well as Discrepant Engagement: Dissonance Cross-Culturality, and Experimental Writing (1993). He has taught at the University of California, Santa Cruz and Duke University.
LC Classification Number
PS3563.A3166.S36
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