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Publié par | eBookIt.com |
Date de parution | 08 juin 2013 |
Nombre de lectures | 0 |
EAN13 | 9781456617271 |
Langue | English |
Poids de l'ouvrage | 1 Mo |
Informations légales : prix de location à la page 0,0112€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.
Extrait
Puncture Wounds
Featuring poetry by scott Urban and Bruce Whealton
Copyright ©2013
Publication and Artwork by Bruce Whealton
A Word Salad Publication
Introduction - Review: Jean Jones on Scott Urban
In poems like “Lamia,” “By Way of Reply,” and most specifically, “The Queen of Air and Darkness,” Scott Urban shows how a mature writer can respond to the vampire myth which by its sheer repetition through pop culture has become a cliche in poetry and writing much less movies and T.V. show. It is almost impossible to go into this venue and not walk through trite expressions and empty cliches. What is there new to say about vampires? The connection between sex and death, sex and fear, fear and desire, etc. etc.? Well, thankfully, Scott Urban walks into the Count’s castle, so to speak, most especially in “By Way of Reply,” where one can almost literally hear “Bela Lugosi is Dead” by Bauhaus, and the quite undead Count writes a letter back to one of his latest victims, the person’s blood drippling off his face, as he recounts the sorrows of his life; and in “Lamia,” the poor narrator, like an Edgar Allan Poe character, both fears and desires after what will happen to him; and my personal favorite, “The Queen of Air and Darkness,” like the Fleetwood Mac song, “Rhiannon,” deals with something ancient, and evil, and terrifying, and makes it come alive to a jaded 21st century audience.
His most recent poetry collections are The Birds of Djakarta [St. Andrews Press] and Tornado [Shakin’ Outta My Heart Press]).
Introduction - Review: Scott Urban on Bruce Whealton
Whenever it seems as if the figure of the vampire has been finally laid to rest -- truly dead instead of undead - a new take, a fresh interpretation comes along and shakes up the bat-drenched mythos. Anne Rice did it in the 1970s with Interview with a Vampire, Nancy Collins did it in the 1980s with Sunglasses After Dark, and Stephanie Meyer did it in the 2000s with the Twilight series. Nor is the vampire a stranger to the poetic arts; authors as wide-ranging and well-known as John Keats, Charles Baudelaire, and Samuel Taylor Coleridge have all offered us poetic descriptions of life after the first death.
Walking straight into this cobwebbed realm is North Carolina’s Bruce Whealton. Bruce peels aside the flimsy façade of society to reveal the corroded, crumbling underpinnings below. Perhaps not surprisingly, the vampire seems to be supremely adapted to survive in the barely-contained chaos we call modern life. All around us, we see structures and institutions we once thought eternal brought low in less than a day. But those who drain not just blood but souls, as we see in “Shelter” and “Amanda’s Eyes,” care nothing for the dissolution of civilization; in anything, they welcome the reversion to a more basic, primitive existence.