{"title":"Monitor Books","description":"","products":[{"product_id":"siblings-by-jay-bernard-mary-jean-chan-will-harris-and-nisha-ramayya-br-b-poetry-book-society-pamphlet-choice-summer-2024-b","title":"Siblings by Jay Bernard, Mary Jean Chan, Will Harris and Nisha Ramayya\u003cbr\u003e\u003cb\u003ePOETRY BOOK SOCIETY PAMPHLET CHOICE SUMMER 2024\u003c\/b\u003e","description":"\u003cp data-mce-fragment=\"1\"\u003eConvened by Will Harris,\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSiblings\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003eis a roundtable conversation between four poets on writing communities, real and imaginary siblings, and first encounters with poetry.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThinking through the lyric mode’s wayward directions — speaking sideways to peers and siblings, writing vertically to parentage, lineage, literary histories — these four poets talk to each other as makers and friends about the possibilities that poetry enables now.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eI grew up with dual realities, with the knowledge of another reality occurring elsewhere, and I carried that with me. 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Available for pre-order.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI live inside a dark cave that I fill up~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ethe décor is not at all prehistoric~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI painted a huge, basically naked portrait of myself looking furiously happy for the entrance~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eno one can enter that doesn’t drop to the floor in admiration~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eit’s a very fine painting on a technical level~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI drop my clothes onto the cave floor directly~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e•\u003c\/p\u003e\n\u003cp\u003eNell Osborne’s\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eThank You For Everything\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis a collection of poems, appointments, wiggle rooms, self-help guides, dialogue scraps, and misery chambers. It skewers the idea of the ‘poet’s voice’ with drab ease, and then skewers that. By turns oblique, seductive, and silly, here is a melancomic portrait of existence in 2024\/5.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e•\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e‘If like Freud’s idea of hysteria – itself dead in the water – behind every symptom is a hidden pain, so too for poetry: its lyric self-seriousness and verbiage, failed addresses so often repurposed from the corporate and platform voices that shape civic emotion, its ‘personals’ and ‘personalities’.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThank You For Everything\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis an act of love for poetry, Nell Osborne going in slantways, ripping and rippling through “tilling sulky cockle shoals” to circle what remains, making me laugh, so much – I love the poems tuning in and out of these voices, written by a rare and liberatory mind.’\u003c\/p\u003e\n\u003cp\u003e— Lucy Mercer\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e‘I hate poetry that smirks as it re-describes the administered world, all that alienation wrapped up in rictus dayglo. 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These are poems for the real ones.’\u003cbr\u003e—Ziddy Ibn Sharam\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e‘\u003cem\u003eVIRGINS\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis a beautiful irreverent thing that seems constantly to be pulling its language simultaneously towards tenderness and harshness. In the cold light of day, we wonder whether the two might be more similar than we think. It reaches back into something beyond the frame. 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