Overview

Ghost texts-the overheard conversation, the remembered line, the daily paper-clamor to enter the poems in Michael Davidson's Bleed Through. Here, the page is a plane for working out aesthetic problems, engaging the reader's intellect and love of beauty. Each new word or phrase calls forth another; attentions create their own nimbus of associations. Davidson's poems are a kind of battleground, where larger philosophical questions are grappled with through the sieve of language and form, but they are also a response to the vital use people make of everyday speech. Faced with hearing loss, he questions the acoustical models-voice, ear, rhyme, rhythm, text-upon which poetry depends and takes as his subject the problems and questions of our cultural history. From ""The Second City"": in the second cityI live out the dream of the firstliving neither for its access and glamour nor dying from its disregardsimply talking towards the twin spiresof an ancient cathedrallike a person becoming like a person

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9781566893398

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Michael Davidson refuses to treat history, philosophy, and the lives we live as separate phenomena. The language of intimate experience interrupts that of public atmospheres and vice versa. Heavens and aprons slightly melt into each other; Kant is at the mall, while our leaders eat cereal. These poems--many from rare and out of print books--converse as lucid shocks under a critical sun. --Jena Osman

Michael Davidson refuses to treat history, philosophy, and the lives we live as separate phenomena. The language of intimate experience interrupts that of public atmospheres and vice versa. Heavens and aprons slightly melt into each other; Kant is at the mall, while our leaders eat cereal. These poems--many from rare and out of print books--converse as lucid shocks under a critical sun. --Jena Osman Michael Davidson's poetry has always been a push-pull experience between total courage and exacting care, as if a fine Swiss watchmaker had suddenly taken up skydiving. It's a heady ride, dedicated at once to both risk & precision, and the pleasures of vertigo, thrill, speed, and terror are never very far. At the end of it, you find yourself surprised at how quiet it all was, up there in the clouds, or just how solid the ground now feels. Bleed Through is a book we have needed for a very long time. What a joy to have it in hand. --Ron Silliman Across a lifetime in poetry, Michael Davidson has plumbed the relationship between the ordinary and the uncanny, and the timeless and the timelessly amusing, within this all-too-mortal coil. His welcome 'new and selected' is rich with those swift turns and exploratory revelations poetry, at its most dynamic, is singularly designed to offer. It is a pleasure indeed to hail his accomplishment. --Michael Palmer

Michael Davidson refuses to treat history, philosophy, and the lives we live as separate phenomena. The language of intimate experience interrupts that of public atmospheres and vice versa. Heavens and aprons slightly melt into each other; Kant is at the mall, while our leaders eat cereal. These poems--many from rare and out of print books--converse as lucid shocks under a critical sun. --Jena Osman Michael Davidson's poetry has always been a push-pull experience between total courage and exacting care, as if a fine Swiss watchmaker had suddenly taken up skydiving. It's a heady ride, dedicated at once to both risk & precision, and the pleasures of vertigo, thrill, speed, and terror are never very far. At the end of it, you find yourself surprised at how quiet it all was, up there in the clouds, or just how solid the ground now feels. Bleed Through is a book we have needed for a very long time. What a joy to have it in hand. --Ron Silliman Across a lifetime in poetry, Michael Davidson has plumbed the relationship between the ordinary and the uncanny, and the timeless and the timelessly amusing, within this all-too-mortal coil. His welcome 'new and selected' is rich with those swift turns and exploratory revelations poetry, at its most dynamic, is singularly designed to offer. It is a pleasure indeed to hail his accomplishment. --Michael Palmer Davidson has created in Bleed Through a beautiful balance between vulnerability, wit, and critique that is utterly entertaining and insightful. -- Arcadia Magazine

Author Information

Michael Davidson is Professor of Literature at the University of California, San Diego. He is the author of The San Francisco Renaissance: Poetics and Community at Mid-Century (Cambridge U Press, 1989), Ghostlier Demarcations: Modern Poetry and the Material Word (U of California Press, 1997), Guys Like Us: Citing Masculinity in Cold War Poetics (U of Chicago, 2003). and Concerto for the Left Hand: Disability and the Defamiliar Body (U of Michigan, 2008). His most recent book, Outskirts of Form: Practicing Cultural Poetics was published in 2011 by Wesleyan University Press. He is the editor of The New Collected Poems of George Oppen (New Directions, 2002). He is the author of five books of poetry, the most recent of which is The Arcades (O Books, 1998). He is the co-author, with Lyn Hejinian, Barrett Watten, and Ron Silliman, of Leningrad (Mercury House Press, 1991).

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