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  • By Bill Hofmann
    Nov 20, 2009
    The evaluation of any work requires that it be placed within its time and in its genre. Poetry and language in 16th century England befuddles the modern reader. And on first encounter, Rik Gwin's poetry in "Walking Backwards" is likely to befuddle, but as a unique and creative exploration of language, that is part of its intent. This is not conventional poetry a la Carl Sandburg; more like e. e. cummings. It is not language or imagery like Edward Guest; more like James Joyce. And the graphic images (also by the author) are more like Marc Chagall than Winslow Homer. Be forewarned! This is an exploration into the unusual, the unfamiliar, the untried, and as such, like any exposure to the strange and exotic, is likely to arouse discomfort. But giving oneself over to the author's unique stream of consciousness generates surprise, humor, pathos, a dose of the absurd, and, ultimately, an awareness that language and consciousness can generate images both improbable and insightful.... More > In one of the more conventional poems, "Tango in Quarter Time", a young woman is "...swaiting the elegant ennui of former days and the laughing lies of cognoscenti in the bars while her reminiscing radio played a tango in quarter time..." Easy enough. But then, "Carnival" begins "The constant infidelity of cornflakes revealed a subtle desire for fruit late in the season when all wonder is gone and the juice of yellow taxicabs dominate the sunsets, and harbor lights are sweet."< Less
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Product Details

May 19, 2010
Hardcover (dust-jacket)
Interior Ink
Black & white
0.86 lbs.
Dimensions (inches)
6 wide x 9 tall
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