![]() She is interested in silence, loss, and dispossession, and in refiguring historical absence as aesthetic presence. The details become the stuff of theory, and the abstractions are made concrete by Brand’s exemplary sensitivity to the pressure they exert on our lives.īorn in 1953 in Guayaguayare, Trinidad, Brand has taken the colonial history of the Americas not just as a theme but as an ethical imperative. ![]() Beginning with Primitive Offensive (1982) and ending with Ossuaries (2010), the book confirms that Brand has always been a meticulous but dynamic stylist for whom form is motivated by the desire to take “history’s pulse…with another hand”-to replace orthodox understandings of time and place with an art that speaks “the whole immaculate language of the ravaged world.” It’s an ambition that has gradually drawn her away from the more oracular, incantatory mode of her earlier work toward sharp, self-directed poems that are as rooted in the details of everyday life as in the abstractions of political philosophy. Dionne Brand is well represented by Nomenclature, a collection of eight volumes of her poetry accompanied by an important new work.
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