By Vanessa Roveto
Roveto’s sentences hurtle ahead with withering disjunctive strength, laying down traps of wordplay, tacking towards and veering clear of syntactical pursuits, trying-on and sloughing-off pronoun positions with abandon. but for all its postmodern bravado—and irreverence, and common frightening hilarity—bodys is still abidingly connected to exploring the matter of a human speaker addressing itself to a different, and colliding with its personal otherness alongside the best way. it's the related problem—articulation as disarticulation—that animates the good Renaissance sonnet sequences, from which bodys is affectionately, and perversely, descended. what's bodys—what are bodys—anyway? A disorder within the body’s skill to multiply itself? A dysmorphic tackle the body’s experience of its fact? A dystopian imaginative and prescient of a global during which limitations among selves and others were beaten by means of trade, surveillance, scientific expertise, nihilistic agitprop? “Last evening one of many women requested concerning the dating among a physique and nobody,” Roveto writes. “It used to be the attractive question.”
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bodys (Kuhl House Poets) by Vanessa Roveto