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The Annotated Here: New
and Selected Poems
Reviews
Lenore Marshall Poetry Prize Finalist
Village Voice 25 Best Books of the Year
Village Voice:
“Strolling through the shards of modernism, these caustically rigorous inquiries into perception and language help annotate both the here and now of contemporary poetry, ongoingly turning into elsewhere.”
BOMB Magazine:
“Welish is a painter as well as an art critic and poet, and she takes advantage of the insight this triple engagement gives her. . . . Her poetry is rigorously engaged with the material nature of words, lines and sentences. Shapeliness and musicality are deployed with steel-springed humor. Her syntax assembles and disassembles with mathematical grace.”
Boston Review:
“Welish generates pleasures of unanticipated wit.”
Publishers Weekly:
“For Welish, as with the Alice Notley of Descent of Alette, cordoned off words and phrases imply a poised and thoughtful consciousness, caught in the midst of intellective and amusing animations of things and thought.”
Kirkus Reviews:
“Welish’s diction is relentlessly, maddeningly, dazzlingly abstract. . . . The result is a cerebral music that offers, for those willing to spend real time, a commensurate reward.”
Poetry Project Newsletter:
“Ferocious, sometimes hilarious and always provocative . . . a vital, original, and significant book. No one has ever written like Marjorie Welish.”
Jacket:
“A publishing event of the first order . . . the astonishing and frankly exhilarating fact is that this vanguard project thrills with its humor. . . . Here dramatizes the adventure of poetic language with extraordinary aplomb and cool wit.”
Barbara Guest:
“The Annotated “Here” occupies a substantial niche in the advancement of poetics. Ever present is the radical order of the poet’s mind. . . . There is comic energy that takes the reader by surprise. ‘Surprise’ is one of her gifts.”
Michael Palmer:
“Anyone unclear about the meaning of the phrase, ‘the dance of the intellects among words,’ should immediately open Marjorie Welish’s Casting Sequences. Screams, laughter, silences, and a music entirely its own are also provided at no additional cost.”
Rosmarie Waldrop:
“An astonishing book. It does not describe. It maps and annotates a world we can almost touch and see, yet which is clearly a space of the mind. . . . Most of all, it makes us participate in an intensity of language, which annuls things and recreates them as word and music, exhilarating primordial sacrifice that celebrates our humanness.”
C.D. Wright:
“Wrenching, obdurate music. There may be no known correspondences for Marjorie Welish’s mind. The poems neither describe nor situate but compose and construct. The procedures are odd but the materials quite embodied. . . . She’s a little bit scary.”
Also available by this author:
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