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Primer by Aaron Smith (English) Paperback Book
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eBay item number:386296042568
Item specifics
- Condition
- ISBN-13
- 9780822964346
- Type
- Does not apply
- ISBN
- 9780822964346
- Book Title
- Primer
- Book Series
- Pitt Poetry Ser.
- Publisher
- University of Pittsburgh Press
- Item Length
- 8 in
- Publication Year
- 2016
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.4 in
- Genre
- Poetry
- Topic
- General, American / General
- Item Width
- 6 in
- Number of Pages
- 104 Pages
About this product
Product Identifiers
Publisher
University of Pittsburgh Press
ISBN-10
0822964341
ISBN-13
9780822964346
eBay Product ID (ePID)
221921061
Product Key Features
Book Title
Primer
Number of Pages
104 Pages
Language
English
Publication Year
2016
Topic
General, American / General
Genre
Poetry
Book Series
Pitt Poetry Ser.
Format
Trade Paperback
Dimensions
Item Height
0.4 in
Item Length
8 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
LCCN
2020-286104
Dewey Edition
23
Reviews
"In Primer, Aaron Smith has not only upped the ante, he's been penetrated and eviscerated by it. These poems arouse me with their brazen, indecorous explicitness, as Smith writes of 'a lust/so deep it can't be filled/with fifty cocks,' all from a vantage point of a delicious, jaundiced hopelessness. The collection throbs with sex and the death wish, but also with wit and an exhilarative rage. This book makes me want to live bareback, to write ever-more-recklessly; it makes me not want my 'stupid, tiny life to end.'" --Diane Seuss, "In Primer, Aaron Smith has not only upped the ante, he's been penetrated and eviscerated by it. These poems arouse me with their brazen, indecorous explicitness, as Smith writes of 'a lust/so deep it can't be filled/with fifty cocks,' all from a vantage point of a delicious, jaundiced hopelessness. The collection throbs with sex and the death wish, but also with wit and an exhilarative rage. This book makes me want to live bareback, to write ever-more-recklessly; it makes me not want my 'stupid, tiny life to end.'"--Diane Seuss, " Primer pivots, sometimes wildly, between abjection and hope, renewed hurt and tentative gratitude, gravity, and glibness. . . . His poems are disruptive fragments of stubborn duration and survival." --Ron Slate, "Shame is the crux, in Smith's austere poems; an aching, inescapable force that closes the gay boy into his own body, making sex abject, until 'there's not enough city // to fill you up.' The world may have changed, but we can't help but carry into the new life the ineradicable weight of the past." --Mark Doty , "Smith's third collection rides the razor's edge between violence and vulgarity, divulging scenes of uncensored sexuality and exposing the dangerous rigidity of traditional masculinity. In 'Homosexuality,' the speaker's father laments the fate of an albino deer, 'eyes / pink, white fur, a reverse // shadow,'and comments on the cruelty of nature for creating an animal that is 'unable / to hide when hiding // is how it survives.' Smith's poems are abundantly nuanced, a catalog of desire and innuendo, limned with humor. 'Poem For Straight Guys' expresses playful gratitude to young men who transformed the locker rooms of his youth into sanctuaries instead of the mortuaries they so often threaten to be for gay teenagers. For all its unabashed bawdiness, the true heart of the book belongs to "Blue Exits," a reflection on suicide, and 'This Unknown Buried in the Known,' written in memory of the late poet Irene McKinney. A frighteningly gifted and complex poet, Smith should be read together with Randall Mann and D. A. Powell as well as novelist Justin Torres." --ALA Booklist, "Aaron Smith has always been a frank, uproarious poet, but his poems have also always exuded a blue that's simultaneously melancholy and bawdy. Primer sharpens his seemingly paradoxical blend of vigor and vulnerability. These marvelous poems are confrontational not simply for readers, but for the poet/self kissing the window between light and darkness, splendor and despair. Aaron Smith writes with more provocativeness and compassion than any poet of his generation." --Terrance Hayes , "This third collection from Smith ( Appetite ) is the kind of book one is tempted to call 'unflinching,' except that, in fact, the poems seem to flinch all over--to recoil, in a manner that is thrillingly moving, from their self-exposure. In plain-spoken poems that come starkly to terms with the early formation of a gay identity and the legacy of a painful family life, Smith finds pleasure in pain and pain in pleasure: 'My fist smashed the bone/ in his nose. A week before he'd stayed at my house,// tried to kiss me, touch my underwear.../.../ I like the way his lip opened under my fist./ I liked the way it felt to be a man.' Elsewhere, plenty of other demons are confronted, including suicidal tendencies ('Aaron Smith killed himself/ because he worried about parking./ I wish that was as funny as it sounds') and illness: 'When you were sick/ I made a list of people I wished would die/ instead./.../ ...I didn't feel/ guilty or afraid. I knew words/ wouldn't change a thing.' But the book circles back again and again to a father figure as reviled as he is beloved, a source of strength and pain. Smith struggles to clearly see himself and his relation to others in these poems; readers may find their paths illuminated by his flickering light." --Publishers Weekly, "These poems rev, glow, fume, and explode with every hard, true line-every hard, true gaze into the speaker's mirror and every hard, true gaze into the reader's eye." --The Rumpus, "Aaron Smith has always been a frank, uproarious poet, but his poems have also always exuded a blue that's simultaneously melancholy and bawdy. Primer sharpens his seemingly paradoxical blend of vigor and vulnerability. These marvelous poems are confrontational not simply for readers, but for the poet/self kissing the window between light and darkness, splendor and despair. Aaron Smith writes with more provocativeness and compassion than any poet of his generation." --Terrance Hayes, "In Primer, Aaron Smith has not only upped the ante, he's been penetrated and eviscerated by it. These poems arouse me with their brazen, indecorous explicitness, as Smith writes of 'a lust / so deep it can't be filled / with fifty cocks,' all from a vantage point of a delicious, jaundiced hopelessness. The collection throbs with sex and the death wish, but also with wit and an exhilarative rage. This book makes me want to live bareback, to write ever more recklessly; it makes me not want my 'stupid, tiny life to end.'" --Diane Seuss, "This third collection from Smith ( Appetite ) is the kind of book one is tempted to call 'unflinching,' except that, in fact, the poems seem to flinch all over--to recoil, in a manner that is thrillingly moving, from their self-exposure. In plain-spoken poems that come starkly to terms with the early formation of a gay identity and the legacy of a painful family life, Smith finds pleasure in pain and pain in pleasure: 'My fist smashed the bone/ in his nose. A week before he'd stayed at my house,// tried to kiss me, touch my underwear.../.../ I like the way his lip opened under my fist./ I liked the way it felt to be a man.' Elsewhere, plenty of other demons are confronted, including suicidal tendencies ('Aaron Smith killed himself/ because he worried about parking./ I wish that was as funny as it sounds') and illness: 'When you were sick/ I made a list of people I wished would die/ instead./.../ ...I didn't feel/ guilty or afraid. I knew words/ wouldn't change a thing.' But the book circles back again and again to a father figure as reviled as he is beloved, a source of strength and pain. Smith struggles to clearly see himself and his relation to others in these poems; readers may find their paths illuminated by his flickering light." --Publishers Weekly, "Aaron Smith has always been a frank, uproarious poet, but his poems have also always exuded a blue that's simultaneously melancholy and bawdy. Primer sharpens his seemingly paradoxical blend of vigor and vulnerability. These marvelous poems are confrontational not simply for readers, but for the poet/self kissing the window between light and darkness, splendor and despair. Aaron Smith writes with more provocativeness and compassion than any poet of his generation." --Terrance Hayes, "In Still Life with a Hundred Crucifixions, one of Aaron Smith's signature poems, the speaker's lying in bed with a man he's just met online, and together they're looking at images of another naked man nailed to a cross, while the stranger asks questions: What is that shade of blue? What makes someone's eyes look like that? Shame is the crux, in Smith's austere poems, an aching, inescapable force that closes the gay boy into his own body, making sex abject, until there's not enough city//to fill you up. The world may have changed, but we can't help but carry into the new life the ineradicable weight of the past. What makes someone's eyes look like that? Aaron Smith can tell you." --Mark Doty, "Shame is the crux, in Smith's austere poems; an aching, inescapable force that closes the gay boy into his own body, making sex abject, until 'there's not enough city // to fill you up.' The world may have changed, but we can't help but carry into the new life the ineradicable weight of the past." --Mark Doty, "Shame is the crux, in Smith's austere poems; an aching, inescapable force that closes the gay boy into his own body, making sex abject, until ' there's not enough city//to fill you up.' The world may have changed, but we can't help but carry into the new life the ineradicable weight of the past." --Mark Doty
Dewey Decimal
811.6
Synopsis
In his third poetry collection, Primer, Aaron Smith grapples with the ugly realities of the private self, in which desire feels more like a trap than fulfillment. What is the face we prepare in our public lives to distract others from our private grief? Smith's poetry explores that inexplicable tension between what we say and how we actually feel, exposing the complications of intimacy and the limitations of language to bridge those distances between friends, family members, and lovers. What we deny, in the end, may be just what we actually survive. Mortality in Smith's work remains the uncomfortable foundation at the center of our relationship with others, to faith, to art, to love as we grow older, and ultimately, to our own sense of who we are in our bodies in the world. The struggle of this book, finally, is in naming whether just what we say we want is enough to satisfy our primal needs, or are the choices we make to stay alive the same choices we make to help us, in so many small ways, to die., In his third poetry collection, Primer , Aaron Smith grapples with the ugly realities of the private self, in which desire feels more like a trap than fulfillment. What is the face we prepare in our public lives to distract others from our private grief? Smith's poetry explores that inexplicable tension between what we say and how we actually feel, exposing the complications of intimacy and the limitations of language to bridge those distances between friends, family members, and lovers. What we deny, in the end, may be just what we actually survive. Mortality in Smith's work remains the uncomfortable foundation at the center of our relationship with others, to faith, to art, to love as we grow older, and ultimately, to our own sense of who we are in our bodies in the world. The struggle of this book, finally, is in naming whether just what we say we want is enough to satisfy our primal needs, or are the choices we make to stay alive the same choices we make to help us, in so many small ways, to die.
LC Classification Number
PS3619.M536
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