Overview

Chris Bullard gives full rein to his wit and pathos in Lungs, a collection of meditations on time, mortality, and the vagaries of the self. As he writes in ""Day of the Dead,"" ""I'd buried my past selves in desert graves/where authorities wouldn't look. /Now they've returned dressed in my clothes."" Bullard's voice is deadpan, ironic, erudite, playfully, archly, and sometimes seriously morbid, not to mention amazing. Lynn Levin, author of House Parties The prime mover of these lively poems is death. Chris Bullard knows exactly how to make a reader squirm, casting doctors and nurses as predators, turning the dead loose from their crypts, reminding us that life is a hopeless gamble because the house wins every time. Not even living ""as our own best selfie"" can protect us indefinitely from random lightning strikes, break-ins, or adverse health events. Bullard's poems circle closer and closer to an inescapable black hole, plunging us into it with the startling specificity of the final poem. Anne-Adele Wight, author of An Internet of Containment These poems CAT-scan below the surface of quotidian life and remind us there is not one among us who is not living with a terminal diagnosis, but it is an insight leavened by Bullard's command of craft, his characteristic dry wit, and the vitality of his voice. The angel's share, referenced in the collection's opening poem, ""Guilt,"" refers to that percentage of fine whiskey evaporated and lost in the aging process; in these clarified poems the losses of human aging become a release, a permission that borders on renewal. Christine Gelineau, author of Crave and Remorseless Loyalty

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Chris Bullard gives full rein to his wit and pathos in Lungs, a collection of meditations on time, mortality, and the vagaries of the self. As he writes in ""Day of the Dead,"" ""I'd buried my past selves in desert graves/where authorities wouldn't look. /Now they've returned dressed in my clothes."" Bullard's voice is deadpan, ironic, erudite, playfully, archly, and sometimes seriously morbid, not to mention amazing. Lynn Levin, author of House Parties The prime mover of these lively poems is death. Chris Bullard knows exactly how to make a reader squirm, casting doctors and nurses as predators, turning the dead loose from their crypts, reminding us that life is a hopeless gamble because the house wins every time. Not even living ""as our own best selfie"" can protect us indefinitely from random lightning strikes, break-ins, or adverse health events. Bullard's poems circle closer and closer to an inescapable black hole, plunging us into it with the startling specificity of the final poem. Anne-Adele Wight, author of An Internet of Containment These poems CAT-scan below the surface of quotidian life and remind us there is not one among us who is not living with a terminal diagnosis, but it is an insight leavened by Bullard's command of craft, his characteristic dry wit, and the vitality of his voice. The angel's share, referenced in the collection's opening poem, ""Guilt,"" refers to that percentage of fine whiskey evaporated and lost in the aging process; in these clarified poems the losses of human aging become a release, a permission that borders on renewal. Christine Gelineau, author of Crave and Remorseless Loyalty

Author Information

Chris Bullard is a retired judge who lives in Philadelphia, PA. In 2022, Main Street Rag published his poetry chapbook, Florida Man, and Moonstone Press published his poetry chapbook, The Rainclouds of y. In 2025, his work will appear in Keystone: Contemporary Poets on Pennsylvania. He was nominated this year for the Pushcart Prize.

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