Timothy Donnelly's brilliant, breakneck and beautiful poetry has been hailed as some of the most original and exciting new work to emerge from the US in several years. In The Cloud Corporation, Donnelly shows how a wholly engaged poetic sensibility can uncover both beauty and meaning within the bewilderments and complexities of contemporary life, without simplifying either its subject or its own investigative approach. In a Donnelly poem, the reader is never sure quite where the next line will take them - the poems pursue their narratives and arguments by surreal association one moment, relentless logic the next - but quickly learns that Donnelly's is a voice to trust, one which can lead them into astonishing and often unexpected clarities. Writing in the New Yorker, Dan Chiasson said 'If Whitman had had a young kid and a Brooklyn apartment, too many bills, and a stack of takeout menus in the top drawer of his Ikea desk, he would have written these poems.' The Cloud Corporation is an imaginative tour de force, and a fine introduction to an essential new poet. 'The best collection I've read in ages: every poem contains something unexpected and unexpectedly powerful. This is serious, modern, ambitious and bold work - the kind of poetry you hope to find, and rarely do' Nick Laird
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Timothy Donnelly's first book of poems, Twenty-seven Props for a Production of Eine Lebenszeit, was published by Grove Press in 2003. He is a poetry editor for Boston Review and teaches at Columbia University's School of the Arts. He lives in Brooklyn with his wife and two daughters.From Publishers Weekly:
Starred Review. Donnelly's formally rigorous and ambitious, not to mention highly anticipated, second book follows up on the many projects of his debut, Twenty-Seven Props for a Production of Ein Liebenzeit, and extends his powers in poems that encompass a wider emotional range. Still here are the gorgeous linguistic surfaces, but also glimpses of a new intimacy: "when I fell you fell beside me and the concrete refused to apologize." Throughout is a kind of dark wordplay--"Demonstrate to yourself a resistance to feeling/ unqualified despair by attempting something like/ perfect despair embellished with hand gestures"--that pokes fun at language while remembering how dangerous words truly are. Procedural poems, such as one that repurposes language from the Patriot Act ("New obstacles shall be established by the Chairman of Failure./ Authorized language drones shall implement and expand/ written combat") portray the dark underbelly of official rhetoric. A pair of beautiful and frustrated long poems introduce a mind agoraphobicly trapped in its vast vocabulary: "the adverb here refers to my person/ and all its outskirts." These poems are a strange and powerful force to be reckoned with.
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