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Intimate Apocalypse: CJ Evans & Saeed Jones
General Admission Pass required for entry
New collections of poetry from CJ Evans (A Penance) and Saeed Jones (How We Fight for Our Lives, Prelude to Bruise) that reckon with historical grief and impending catastrophe; and how we find life and freedom amid the violence and anger. Moderated by Erika Stevens.
In CJ Evans’ Lives, winner of the 2021 Kathryn A. Morton Prize in Poetry judged by Victoria Chang, ere are poems with music matched to matter, so that reading them often involves both swoon and startle: “When it folds open, the rule-less rile / of sky,” Evans, writes, “the comets and giants. And also: / books, chamomile, and more kissing.” Panoramic in time and space, Lives knows each of us, our ordinary lives and our occupancy within history and the universe, our yearning for connection: “And if I turned to you now, my one wet muscle run dry, would you / turn to me? And what else could my heart be for if not to try?”
“CJ Evans’s beautiful book, Lives, explores and circles around, into and out of what it means to be free and alive in a world where humans insist on war and environmental destruction. . . . The book is intimate, expansive, and in moments, willfully hopeful. As Evans writes: ‘here is a price I’ve exacted/to live, a shadow in which nothing else could grow, /but since I’m here I’d love.’”
—Victoria Chang, winner of the PEN Voelcker Award for OBIT
In haunted poems glinting with laughter, in Alive at the End of the World, Saeed Jones explores the public and private betrayals of life as we know it. With verve, wit, and elegant craft, Jones strips away American artifice in order to reveal the intimate grief of a mourning son and the collective grief bearing down on all of us.
Drawing from memoir, fiction, and persona, Jones confronts the everyday perils of white supremacy with a finely tuned poetic ear, identifying moments that seem routine even as they open chasms of hurt. Viewing himself as an unreliable narrator, Jones looks outward to understand what’s within, bringing forth cultural icons like Little Richard, Paul Mooney, Aretha Franklin and Diahann Carroll to illuminate how long and how perilously we’ve been living on top of fault lines. As these poems seek ways to love and survive through America’s existential threats, Jones ushers his readers toward the realization that the end of the world is already here—and the apocalypse is a state of being.
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