Think of a time when you’ve feigned courage to make a friend, feigned forgiveness to keep one, or feigned indifference to simply stay out of it. What does it mean for our intimacies to fail us when we need them most?
The poems of this collection explore such everyday dualities—how the human need for attachment is as much a source of pain as of vitality and how our longing for transcendence often leads to sinister complicities. The title poem tells the conflicted and devastating story of the poet’s friendship with the now-disgraced Bishop of Phoenix, Arizona, interweaving fragments of his parents’ funerals, which the Bishop concelebrated, with memories of his childhood spiritual leanings and how they were disrupted by a pedophilic priest the Bishop failed to protect him from.
This meditation on spiritual life, physical death, and betrayal is joined by an array of poised, short lyrics and expansive prose poems exploring how the terror and unpredictability of our era intrudes on our most intimate moments. Whether Michael Collier is writing about an airline disaster, Huey Newton’s trial, Thomas Jefferson’s bees, a piano in the woods, or his own fraught friendship with the disgraced Catholic Bishop, his syntactic verve, scrupulously observed detail, and flawless ear bring the felt—and sometimes frightening—dimensions of the mundane to life. Throughout, this collection pursues a quiet but ferocious need to get to the bottom of things.
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Charlotte y Peter Fiell son dos autoridades en historia, teoría y crítica del diseño y han escrito más de sesenta libros sobre la materia, muchos de los cuales se han convertido en éxitos de ventas. También han impartido conferencias y cursos como profesores invitados, han comisariado exposiciones y asesorado a fabricantes, museos, salas de subastas y grandes coleccionistas privados de todo el mundo. Los Fiell han escrito numerosos libros para TASCHEN, entre los que se incluyen 1000 Chairs, Diseño del siglo XX, El diseño industrial de la A a la Z, Scandinavian Design y Diseño del siglo XXI.
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