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9781643621739

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"""The three sections that make up this collection—'HEARING,' 'AMBIENT MOM' and 'HISTORIES'—are built as self-contained structures, whether long poems or suites, all of which explore through different elements of patterns of sound and rhythm, bouncing across line breaks and long sentences.""—rob mclennan's blog ""This is such a physical book to read. Kimberly Alidio animates the tendons of utterance and draws my attention to speech as transsubstantive. A vast listener in Teeter is opening us to counter-cartographic experience of place. Oceanic and archipelagic feeling regards the ancestral and the future without any will to claim or circumscribe. I feel ecstatic reading these poems. Deeply in my body, beyond it, the rangy freedom of perceiving, remembering what trace we are of one another.""—Kyle Dacuyan  ""Across three disjunct long poems, Kimberly Alidio’s writing excels at 'tracking flows in listening' and a subtle, subversive weighing of words. Whether as writerly reader, as student of Pangasinan language, or as collaborator-after-the-fact to sound works by Maryanne Amacher, Lea Bertucci, and others—not so distant from Fred Moten’s writing 'with' Cecil Taylor—this marvelous book has everything to do with media and modes of interface beyond the book: 'employing all of the training of one’s ear, to be a co-presence.'""—David Grubbs ""The sonic realm is this brilliant book’s polestar precisely because of its ongoingness and intimacy: a 'pure affirmation that doesn’t affirm anything' (Ashbery). A powerful instrument against thought’s instrumentalization is voice—both as material inscription and event produced by a body, here in defiance of English’s hegemony. A poem’s speaker wonders about the possibility of 'thinking & being in some kind of open conspiracy to persist in thinking & being.' Teeter offers an answer, and I couldn’t agree more with the interlocutor whose reply is, 'I love poets, I hate celebrities.'""—Mónica de la Torre "

This is such a physical book to read. Kimberly Alidio animates the tendons of utterance and draws my attention to speech as transsubstantive. A vast listener in Teeter is opening us to counter-cartographic experience of place. Oceanic and archipelagic feeling regards the ancestral and the future without any will to claim or circumscribe. I feel ecstatic reading these poems. Deeply in my body, beyond it, the rangy freedom of perceiving, remembering what trace we are of one another. -Kyle Dacuyan Across three disjunct long poems, Kimberly Alidio's writing excels at 'tracking flows in listening' and a subtle, subversive weighing of words. Whether as writerly reader, as student of Pangasinan language, or as collaborator-after-the-fact to sound works by Maryanne Amacher, Lea Bertucci, and others-not so distant from Fred Moten's writing 'with' Cecil Taylor-this marvelous book has everything to do with media and modes of interface beyond the book: 'employing all of the training of one's ear, to be a co-presence.' -David Grubbs The sonic realm is this brilliant book's polestar precisely because of its ongoingness and intimacy: a 'pure affirmation that doesn't affirm anything' (Ashbery). A powerful instrument against thought's instrumentalization is voice-both as material inscription and event produced by a body, here in defiance of English's hegemony. A poem's speaker wonders about the possibility of 'thinking & being in some kind of open conspiracy to persist in thinking & being.' Teeter offers an answer, and I couldn't agree more with the interlocutor whose reply is, 'I love poets, I hate celebrities.' -Monica de la Torre

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Kimberly Alidio is the author of four books of poetry, including why letter ellipses, : once teeth bones coral : , a Lambda Literary Award Finalist, and after projects the resound, and three chapbooks. They teach prose and poetics for Bard Prison Initiative, Bard's Language and Thinking Program, and the Milton Avery Graduate School of the Arts. They live in Catskill, New York.

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