"The narrating voice in Living Room is insistent but quiet, though it sometimes achieves loudness without any apparent effort. At other times it seems to continue in the -reader's mind even after stopping for the day. It is an important new presence, faintly disturbing and endlessly attractive."-John Ashbery
Readers may be voyeurs, but the subtler gifts are not for the fast glancers. Take a good slow second look at Geoff Bouvier's Living Room . . . bravura performances, both accessible and elegant, both immediate and subtle, both hilarious and serious. . . . With virtuoso reversals, switches of vantage, changes of scale, inside-outings, they accomplish metaphysical, not only physical, effects.-from the introduction by Heather McHugh
Each of Geoff Bouvier's prose poems brims with industry and restless attention, and the dramas they contain are manifold. Here a solitary mind and there a whole social sphere are cross-sectioned for observation at moments rife with emotional collisions-awesome tediums, mad reliefs. In style and substance, Living Room enacts the urgency one feels to stretch out against cramped quarters. Introduced by Heather McHugh.
Date Published 9/1/2005
Ratings
Rated By: Henry Berry "Henry Berry"
From: Southport, CT
Rating:
Comments: poems playing with ambivalence Bouvier finds an ebullience and often amusement in ambivalence. No Hamlet is he, riddled with doubts. He gets above the ambivalences by a bright, sometimes almost mocking style. This obviously does not get to any answers, or even any ways out of the ambivalences. But it surely presents an unfamiliar, entertaining view on this common state. Bouvier can write, "If we touched hands, it was too much. We touched hands. It was not enough...We lost ourselves, we found a house. We found a house, we lost the house." ("The House In Order") He ends "Somebody Stop LaSalle, "To the left and right fantasies. Come amok with me." The insouciant style yields fetching, occasionally intriguing wordplay.
