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The 145 short poems in this volume deal with certain problems concerning human relationships that seem particularly frequent in the western industrialized world at the present time. The volume starts with a collection of 117 poems entitled SURFACE TENSION. Monologues in which the author relates his inner states of emotion to events in Nature are alternated with shorter and more lyrical poems. In the first 'movement' the sea is used to symbolize conflicts between men and women in a partnership. In the second movement, the earth is used to symbolize conflicts within an individual over how far he or she should allow intellectual concerns to win out over romantic concerns (or vice versa). In the third movement, air and sky are used to symbolize the states of relative peace (interspersed with moments of storm) that can arise in a relationship between two people with similar ideals. In the second collection, entitled MISCELLANEOUS POEMS, the unifying undercurrent is the poet's interest in how his own romantic conflicts influence the style and form of the individual poems associated with those conflicts.
Surface Tension is an edgy debut anthology of poetry surrounding the theme of self injury. The book contains 33 poems that vary in length and style, but that contribute to a well rounded collection that showcases the author's work. Surface Tension is about denial, despair, and ultimately, the hope of a better future.
Typography meets poetry at a Pink Floyd laser-light show In Surface Tension, poetry is liquefied. Flowing away from meaning, letters and words gather and pool into puddles of poetry; street signs and logos reflected in the oily sheen of polluted gutters of rainwater. Like a funhouse mirror reflecting the language that surrounds us, the pages drip over the margins, suggesting that Madge was right, we are “soaking in it!” Surface Tension updates visual poetry for our post-pandemic age, asking us rethink the verbiage around us, to imagine letters as images instead of text, to find meaning in their beautiful shapes as Beaulieu stretches, torques, slides, blurs, and melts them into Dali-esque collages. "Not words, letters; not letters, shapes; not shapes, figures; not figures, ciphers; not ciphers, ornaments; not ornaments, decoration; not decoration, semiotics; not semiotics, communicative possibilities; not vagrant potential, slowly forming inflection; not melting deflection, language as dance: in, out, upside down, flapping, flipping, all ways round." – Charles Bernstein, recipient 2019 Bollingen Prize for American Poetry "The striking compositions you’ll find in Surface Tension are being presented sequentially in book form, yet that they wouldn’t be out of place hanging on the wall goes without saying. Beaulieu swerves Gomringer when writing that 'Readibility is the key: like a logo, a poem should be instantly recognizable...' yet, to this reader, these works merit sustained and enthusiastic viewing precisely because they teeter on the edge of legibility. The kinetic, glitchy quality of their 'alphabetic strangeness' keeps them unrecognizable as poems and, here, 'that is poetry as I need it,' to quote Cage. Think of them as anti- advertisings selling you nothing but bountiful manifestations of the irreducible plasticity of numbers, punctuation marks, and letter forms. No logos." – Mónica de la Torre, Madelon Leventhal Rand Endowed Chair in Literature, Brooklyn College; co-editor of Women in Concrete Poetry 1959–1979 "With his distinctive visual palindromes and angled axes of symmetry, Derek Beaulieu has developed a signature mastery of Letraset, leveraging the twentieth-century tech- nology as a vehicle for bring concrete poetry into the twenty-first century. With Surface Tension, Beaulieu takes the possibilities of that new idiom even further, unsettling the fixity his symmetries once reinforced and dislodging the set in Letraset as poems distort in fun-house-mirror swerves, sag as if under their own weight, pool and smear in the liquid logic of heated ink, or swoop and blur as if in motion. In the process, these poems make visible the filmic potential of the photocopier, the facture of abraded transfers from brittling stock, and the three-dimensional substrate of the page with its flexible bends in curving space. These are thus poems in part about their own modes of production. They are beautiful products of a self-aware and intelligent process." – Craig Dworkin, author of Radium of the Word: A Poetics of Materiality "When most of the language we consume is non-poetic, should poetry not attempt to poetically intervene within these spaces that are not traditionally poetic?” The answer to Derek Beaulieu’s question, put forward in his beautiful essay, is surely yes: the ten bril- liantly adventurous visual poems in his Surface Tension make a startling case for his fascinating Letraset /photocopier inventions. Beaulieu’s compositions originate in a place of clean design and logical narrative; soon, as in a dream, they open up, ushering in what he calls 'a poetry of difference, chance, eruption.' Marcel Duchamp would have called it the poetry of the infrathin: watch 'Simple Symmetry' or 'Dendrochronology' open up and come alive in their minutely evolving new spaces. This is quite simply an enchanting book – a book producing new pleasures with each turn of the page." – Marjorie Perloff, Sadie Dernham Patek Professor of Humanities, Emerita, Stanford University
Surface Tension is a collection of poems from the early 90s to 2020. The poems are personal and political, arising from work to advance social justice and to give voice who have been kept silent.
'Surface Tension', Stephanie Conybeare's second collection of poems, presents a narrative comprised of individual stories and voices which together describe a journey, a life's journey, punctuated and defined by transition: a perpetual encountering and negotiating of borderlands, transition points requiring a metamorphic response. Faced by uncertainty the stranger, the outsider, finds that alienation is also a state of grace offering the freedom, and the safety, of being 'free for all faces'. Life lived in translation, shifting shape and identity, is chronicled by memory which transcends its own surface tension with a metaphysics of mystery deepening like the blue of the sky 'into midnight blue, then midnight'
"Equi is that rarity--someone with natural comic talent who is also capable of delicacy and lyricism."--David Lehman,Newsday
These poems explore the points of contact and contrast between man's nature and the landscape in which he lives. They combine flights of metaphysical rapture and romantic daydreams with portraits of urban realities. The poems remind us of hidden spiritual elements and charged atmospheres.
Taking Dante Gabriel Rossetti, William Morris, and Gerard Manley Hopkins as its primary subjects, Surface Tension reveals how these later Victorian poets repeatedly imagine the aesthetic moment—charged, variegated, intensely focused—as capable of birthing a new, and newly redemptive, culture. Turning to contemporary experimental poets and theorists of poetry, such as Andrew Joron, Lisa Robertson, Christopher Nealon, and Joan Retallack, it goes on to reveal how our own poetry's fascination with complex surfaces and imagined social transformation has deep and under-recognized ties to Victorian concepts. Surface Tension offers new insights into the debt we owe to the most radical of the Victorians while yielding new understandings of how late Victorian poetry, even when least explicitly political, engages, and often re-envisions, the period's pressing anxieties about social progress, decadence, and revolution.
Explore the feelings of a man who is like many others: He feels guilty about being attracted to someone other than his wife. It's during these moments that he clamps down on his desires, knowing that it could endanger his marriage and family life. But still, his responsibilities as a parent have him wishing he could escape into the arms of another. Find out how he battles through his urges in this book's first selection of poems, titled "Trepidations." With moving candor, he delves into his moments of mental infidelity to his wife. The poet follows that up with "Celebrations," a second grouping of poems in which he expresses his appreciation to his loving wife. Using a stylistic approach dubbed "cosmopolitan formalism," these poems are meant to appeal to all people, regardless of their gender, sexuality or background. Weed through the tricky problems of a serious relationship and find a love that lasts in Celebrations and Other Poems.