Tag Archives: Word Choice

“Your Inbox. Love, Manila” by Kimberly Quiogue Andrews

Deborah Randall; CAN YOU HEAR ME?; Ink and casein on paper; 11 x 15 inches. Courtesy of the artist and Pierogi Flat Files.On August 27, 1959—or was it September 3?—a fresh and enigmatic cultural movement was supposedly born, according to which the poem might be located “at last between two persons instead of two pages.” But if one may as well make a phone call (or send an email) as compose a poem, does the choice of form—blank verse over Instant Message, for example—reveal the poet as a narcissist, a poseur intellectual fixated on fame?

“Contrabass” by John Thomas

Dread Scott; FEAR OF LIFE; Silver gelatin print; 11 x 11 inches. Courtsey of the artist and Pierogi Flat Files.
John Thomas navigates double-deep terrains, culling from massive lowliness a register of grave clarity.

“Hum” by Kirk Nesset

Steve Giovinco; TREE TWILIGHT; Digital c-print; 11 x 14 inches. Courtesy of the artist and Pierogi Flat Files.
Here Kirk Nesset approaches a halcyon sense of doom, clean couplets side-stepping the gruesome or bathic, rather striking an eschatological perspective rid of outright violence, imbued with the comeliness of impermanence.

“Imprecation” by Dawn Marie Knopf

Todd Hido; 2523 FROM THE SERIES HOUSE HUNTING 1996-2001; C-print; 24 x 20 inches. Courtesy of the artist and Pierogi Flat Files.

“No Science” by Weston Cutter

Peter Hildebrand; WARP AND WEFT; Gouache on paper; 22 x 30 inches. Courtesy of the artist and Pierogi Flat Files.
Weston Cutter turns his regard to the rare enigma of the quotidian: shunning any suggestion of pretension in favor of an Ammonsian phrasing, “No Science” mulls over clues pulled from their contexts, tapping into questions of exclusion and intrusion, the thin distinction between durability and stability.

“Midday” by Yael Shinar

R.D. Gluibizzi; ROOT COUPLE; Ink on paper; 12 x 9 inches. Courtesy of the artist and Pierogi Flat Files.
Yael Shinar plots the fleeting moment of one life’s unraveling with a plaintive reverence for the often forgotten detail of qualia, the dull madness of life unto death and vice versa. Not exactly elegiac, by its meditative clinic “Midday” nonetheless gives the reader pause.

“Balloons the Shape of Manhattan” by John Randolph Carter

Mark Miller, RISING SON (FLAG#6); Gouache, glitter, collage; 9 x 11 inches. Courtesy of the artist and Pierogi Flat Files.
John Randolph Carter’s taut but rangy take on Americana merges familiar subjects and settings to a satisfyingly bizarre effect. His verse strikes a difficult balance between originality and appeal, luring in the audience with its tidy structure, friendly diction, and tasteful embellishment, only in the end to reveal its surprise as omen.

“Prayer, 6/13/08″ by Jamie Quatro

Helen Brough, Cataclysmic Hypotheses #1; Pencil on tracing paper; 4 x 6 inches. Courtesy Pierogi Flat Files.
Loss of any kind can feel, to the bereaved, as much an ‘act of God’ as large-scale catastrophe.

While Michael Lays Dying by Rosemarie Castoro

David Goodman
Before I was aware of the news, I just had a good friend for tea, and he helped me bring some pictures out in the light. Little did we know, an unveiling of another kind was happening in California.

“Letter” by Andrew Naymark

Mary Murphy, Self Portrait B AP; digital print; 11 x 14"; courtesy of Pierogi Flat Files.
Writing a letter these days seems to be a tribute to nostalgia rather than an efficient means of communication.