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No Rhododendron: Poems
Paperback
Series: Pitt Poetry
Publisher Price: $20.00
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ISBN10: 0822967480
ISBN13: 9780822967484
Publisher: University of Pittsburgh Press
Published: Oct 7 2025
Pages: 120
Weight: 0.50
Height: 0.40 Width: 6.80 Depth: 8.60
Language: English
ISBN13: 9780822967484
Publisher: University of Pittsburgh Press
Published: Oct 7 2025
Pages: 120
Weight: 0.50
Height: 0.40 Width: 6.80 Depth: 8.60
Language: English
Finalist, 2026 PEN Open Book Award
Finalist for the 2026 Nossrat Yassini Poetry Prize
Featured in Poetry Daily's Best Poems of 2025
Winner, 2024 Donald Hall Prize for Poetry Part elegy, part poetry of witness, and part poetry of exile, No Rhododendron is a lament to the poet-speaker's father and fatherland and a grief-wrought love letter to his mother and mother tongue. The collection is haunted by an existential question about Shertok's oral mother tongue, Tamang: How do you write about a language that has no script? Exploring the erasure, ambiguity, multiplicity, violence, and unknowability signified by X, the poems dwell on the lip of a new ghost language, which ultimately fails itself. The polyphonal witnessing of the decade-long Maoist conflict in his native Nepal from schoolchildren's perspective reveals how a war can fracture the psyche of an entire generation. The final thread of the book, a reverse-elegy for his mother, meditates on the impending loss of a loved one as a potential site of mourning, impermanence, gratitude, memory-making, and mythopoeticism.
Finalist for the 2026 Nossrat Yassini Poetry Prize
Featured in Poetry Daily's Best Poems of 2025
Winner, 2024 Donald Hall Prize for Poetry Part elegy, part poetry of witness, and part poetry of exile, No Rhododendron is a lament to the poet-speaker's father and fatherland and a grief-wrought love letter to his mother and mother tongue. The collection is haunted by an existential question about Shertok's oral mother tongue, Tamang: How do you write about a language that has no script? Exploring the erasure, ambiguity, multiplicity, violence, and unknowability signified by X, the poems dwell on the lip of a new ghost language, which ultimately fails itself. The polyphonal witnessing of the decade-long Maoist conflict in his native Nepal from schoolchildren's perspective reveals how a war can fracture the psyche of an entire generation. The final thread of the book, a reverse-elegy for his mother, meditates on the impending loss of a loved one as a potential site of mourning, impermanence, gratitude, memory-making, and mythopoeticism.
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