Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
612-822-4611

  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
out takes/ glove box

out takes/ glove box

Zeller, Maya Jewell

Paperback

General Poetry

Publisher Price: $18.00

ISBN10: 1941561314
ISBN13: 9781941561317
Publisher: New American Press
Published: Nov 1 2023
Pages: 92
Weight: 0.23
Height: 0.25 Width: 5.25 Depth: 8.00
Language: English

Eduardo Corral, author of SLOW LIGHTNING and GUILLOTINE, selected this compelling collection by Maya Jewell Zeller to receive the New American Poetry Prize: In OUT TAKES/ GLOVE BOX, the speaker thinks beautifully through the shifting sands of mothering and tracks the body as it spirals through time, says Corral. The language is dazzling. We're privy to a 'vermillion funeral' and learn an astonishing thing, '[t]he square root of whiskey is water.' Intimacy, here, includes the natural world. Animals and plants are tended to, torn into, and observed with an enviable capacity to render them mythic, tangible. These poems are spellbinding-read them out loud to experience their full power. Diane Seuss, Pulitzer Prize-winning author of FRANK: SONNETS, has offered the following praise: In Maya Jewell Zeller's enchanting OUT TAKES/ GLOVE BOX, the vehicles that carry us into and out of imaginative spaces abound, from a rusted car with its glove box full of dirt to a horse, 'hinged and winged/ like moths, its wet little eggs / still bobbing in their soft ponds.' Eggs abound, their mothers and their hatchlings. Indeed, the book could be said to be an 'oocyte opera' of ovarian orbits and eddies, each month offering up its 'vermilion funeral.' Zeller's surrealism is embodied and embedded in myth, fairy tale, the realm of the family, and the kingdom of the natural world. She calls her process, in one title, 'Re-Making the Personal Environmental Imagination.' The poems are oceanic, Edenic, their music, as she writes in a poem, 'vowelly, ' but that lyric fluidity is crenelated by the notion and practice of 'out takes, ' and the image of the 'glove box, ' compound words snapped, like bones, in two. Images and ideas are honed and reiterated; they drop their beauty and defer to honesty. It is the kind of deft performance only a mermaid or a mother could pull off.

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