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Stignatz and the User of Vicenza, by Rick Mullin
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Poetry. "These poems lie in wait, offering to show you things. Some are exact and immediate, like visits to a moment; others take you to locations that reveal themselves slowly. Here, too, are extraordinary expressions of individual perception. They are like installations at an exhibition—you move along, but they call you back for a longer stay, and you see more each time. They make impressions on the inside of the head, behind the eyes, and just when you think you feel the poet at your shoulder, you spin round only to see yourself, looking."—Ann Drysdale
- Sales Rank: #8789069 in Books
- Published on: 2016-01-15
- Original language: English
- Dimensions: 8.75" h x 6.00" w x .50" l, .0 pounds
- Binding: Paperback
- 96 pages
Review
In Stignatz & the User of Vicenza, Rick Mullin displays his effortless formal mastery in poems that range from amorous meditation to tender cynicism and an illuminating openness before pop culture and high art. Are you ready for a sestina that explores the genius of Joni Mitchell? How about a poetic account of a tattoo that honors the classic comic Krazy Kat a poem that does justice to George Herriman s visual art and his inventive Joycean prose? For those new to Rick Mullin s prolific output, now is the perfect time to stop and savor this new collection a book of startling originality and singular, always compassionate vision. --Ned Balbo, author of The Trials of Edgar Poe and Other Poems, selected for the Donald Justice Prize and the Poets Prize
Here is a poet who has traveled widely, one who knows more than a little about music, art, architecture, and literature, but who has also lived and loved among people in the world. And what a world is here contained! Set in train stations, bars, hotel rooms, garret apartments, city squares, and museums in cities as diverse as Amsterdam, Hoboken, Istanbul, New Orleans, New York, Paris, and Philadelphia, the poems are told by a speaker whose keen appreciation for history and beauty is leavened by wit and an instinct for the idiom of modern pop culture. --Rebecca Foust, author of Paradise Drive, winner of the 2014 Press 53 Award for Poetry
These poems lie in wait, offering to show you things. Some are exact and immediate, like visits to a moment; others take you to locations that reveal themselves slowly. Here, too, are extraordinary expressions of individual perception. They are like installations at an exhibition you move along, but they call you back for a longer stay, and you see more each time. They make impressions on the inside of the head, behind the eyes, and just when you think you feel the poet at your shoulder, you spin round only to see yourself, looking. --Ann Drysdale, author of Miss Jekyll s Gardening Boots and co-editor of Angle: A Journal of Poetry in English
About the Author
Rick Mullin is the author of SOUTINE (Dos Mardres Press, 2012), COELACANTH (Dos Madres Press, 2013), SONNETS FROM THE VOYAGE OF THE BEAGLE (Dos Madres Press, 2014) and STIGNATZ AND THE USER OF VICENZA (Dos Madres Press, 2016). He has also written a book-length poem, Huncke (Seven Towers, 2010). His chapbooks are Aquinas Flinched (Exot Books, 2008) and The Stones Jones Canzones (Finishing Line Press, 2013). He has been published in a variety of journals and anthologies.
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But what beautiful dives! Consider the opening lines from “Genuine Man”
By Bridget
If you haven’t read Mullin’s work before, allow me to attest to his invigorating breadth of language and the crystalline specificity with which he captures the world, both past and present, as both the diving board and the catching substance for imagination. But what beautiful dives! Consider the opening lines from “Genuine Man”:
“Step back from the canvas. Unread the inscription.
The deer were not given a Latinate name
by the Lenne Lenape along the Passaic
where the mist of a river bled out with the game.”
The lines carry themselves rhythmically forward, taking the reader from one conceivable set of environs to the next, and not simply as a show of mental dexterity, but as a trusted mentor’s reminder to himself— that unruliest of students—to look honestly, if need be wordlessly, never allowing the vantage point to be prescribed. Although Mullin’s poems contain such valuable insights and revelations into man’s struggle to understand just exactly what is worth believing and holding sacred in today’s world (for me, anyway), they do not come from some irreproachable height. That is, there’s no bossing of other brains, only the humble opening of a door to additional meanings.
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