Review of Carnet d’AmeriKa

Carnet

Carnet d’AmeriKa, Erin Currier (2016, CSF Publishing)
“To be human is to transform; to be human is to name, then name anew. I must remember the inseparable nature of word and action.” Erin Currier, November 6th, 2004
 In a sense this passage became one of Erin Currier’s self-fulfilling mantras, its ethos guiding the trajectory of her life and art. As an insatiable seeker, with the ambulatory zeal of a flâneur, Currier has literally “walked the walk” in collecting trash from different countries around the world. Her epic scavenger hunt, keyed to alchemy and renewal, has given rise to a dynamic body of artwork, which continues to grow and attract followers and collectors worldwide.
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After Party

mask bones

She, Lazarus,
back from the dead,
with a musical vengeance—
A beat, Christ, please,
she asks of her martyred D.J.,
half-light, half-man,
and out climbs her voice, grinding
through rubble, a dark velvet toy
wound up for centuries, released,
on behalf of every last blue girl, unannounced,
notes from underground
unfurling a cortege of white ribbons,
grace lost
now found
among trespasses.
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Fete

At the window,
creamed in pale light
and amber, a gauzy feting
of an interior life, as if
solitude, doubly engaged,
rears company
from silence.
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Anne Sexton (1928-1974)

AnneSexton
Anne Sexton: tall and lovely and dead,
and I, turning the knob, want to get in
and fuck her, but cannot,
because she is dead.
So really, I wanted to, past tense.
                                                            The point being:
how I wanted to fuck her, how
Now, telling you about the biography I just read
on Anne Sexton: a poet, tall and lovely, who chain-smoked
and is now dead          (by her own hand,
                                         proving we claim stars when we can)
and why can’t I stop thinking about
how I am alive, how,
and she, the poet, Anne Sexton is dead,
and if we traded places—
a gravesite for a clean silver spade:
would she be the one
reading a biography about me,
and mooning for a twilight lay
with a dead writer?
These are the sort of questions
which keep me up at night,
and keep me reading biographies
about writers
dead                and open to whatever.
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Flaubert in Brooklyn

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Madame Bovary
bawling on a street corner–
I’d throw her a bang.
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Ophelia’s Blues

 

Ophelia
Her sad, sea-green dress,
an epitaph, rippling quietly,
as if in a dream.
The small history
of a fresh wraith,
white fingers forever
separating the bones
from the silt.
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Feral

dust III

At risk
of possession
by fire,
how, in the ripe grip
of new language,
we grow feral
along a trackless rim,
greening desire.
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Pinch

mask III
To hell, lovingly,
with gravity
as it claims one’s pulse
and vitals;
a precipitous plunge
into faith at
the far end
of a diminishing tunnel
pinched by light.
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Immigration Laws

diabolical plot
We are
immigrants in our own skin,
flash-fire refugees
who get by with falsified papers,
fake IDs, and forged signatures.
If caught
and found guilty
of a trespass
or transgression,
we pardon ourselves
in our native tongues,
language a placeholder
for the names
we were forced
to annul.
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Aperture

brassai bike
Fade,
how the light,
contracting Amnesia,
tenderly submits
by subtly engaging
a trick lens.
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