Ziggurat by Peter Balakian

Ziggurat by Peter Balakian

By Peter Balakian

Widely recognized for his memoir and nonfiction at the Armenian genocide, Peter Balakian is usually an finished poet, and Ziggurat is his first booklet of poems in 9 years. Exploring heritage, self, and mind's eye, in addition to his ongoing matters with disaster and trauma, a lot of Balakian’s new poems strive against with the aftermath and reverberations of September 11.

            even if reliving the construction of the area exchange Towers within the artistic forty-three part poem that anchors the ebook, jogging the ruins of the Bosnian nationwide Library in Sarajevo, meditating on Andy Warhol’s silk monitors, or contemplating the confluence of song, language, and reminiscence, Balakian keeps his meditations on historical past, in addition to the harshness and wonder of up to date existence, that his readers have loved through the years. In a sensual, layered, and occasionally elliptical language, Balakian in Ziggurat explores absence, battle, love, and paintings in a brand new age of yankee uncertainty.

“Peter Balakian’s Ziggurat ingests calamity and dissolves it into nearly exhilarating rhythm and photograph, pushing the language till it sounds like it’s breaking into anything new. The paintings goals to bare the human skill to combine and, after not easy passage, transcend.”—Sven Birkerts

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Sample text

A silver flash on the facing track, then dark. 12. 9/21/03 All day the campus floated in light, the pond bronze with carp not mud-brown late-March clotted debris— but darting, transparent, cutting past a large gold or walleye; trees of riotous color left late summer in the curb. The granite stone of Lawrence Hall glittered through the elms, and lawn rolled as we walked down-slope to the rugby field, close to where Ann was chasing the twins as they tumbled down the hill. You had returned with clips of the Al Qaeda camp in Pakistan where you lived for weeks among the poor and angry.

The Ziggurat is a peculiar feature of Mesopotamian architecture . . ” 36. Franz Kline— black bites back—takes the head off the illusion so that white is not the empty face, the apparition, but the joyful stone, the sheet of Jesus. Not the lost man in Lapland, the white sea, the buffalo robe, 42 but the belly of any fish— the canvas gaze, whatever opalescent film the oyster brings to surface. 37. Between Bananas and Annie Hall there was a big hole in the window south of Coentis Slip, south of Warhol where we walked our thousand miles never jumping from the plank.

38 31. The drum roll of wheels over tracks— my head synced with the streak of Euclid Ave. Blue C 8th Ave. Local World Trade Center (still up) against the black and white ticking of the tiles dissolving into neon dust and I asked 32. where were we going as the rhododendrons fell into themselves and the park seemed to levitate on the fume. Peachwood strips will drive out evil spirits. We drove the brown Corolla to Rhinebeck for the weekend. The ash and spruce were resinous in our throats; you set out pots of sedum, dumb-cakes, dreaming bannocks, at high noon you broke an egg in a bowl and read the fantastic shapes of the flowing whites.

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