A Thousand Words and Others by George Tysh
George Tysh’s two-part take on presence and absence is rooted in jazz and painting, French and Mandarin, memory and longing, in a recto-verso approach to structure. Its first bareboned section, “A Thousand Words,” is 100 pages, ten words per page, set in columns that give a nod to classical stanza form. Part Two, “and Others,” a coda of sparse lyrics, fills out the tone of what is barely implied in Part One. In a mixture of vernacular and stark poetics, he produces a book-length series that experimental novelist Lynn Crawford calls, “Lush. Rhythmic. Disturbing. Gorgeous.”
George Tysh’s two-part take on presence and absence is rooted in jazz and painting, French and Mandarin, memory and longing, in a recto-verso approach to structure. Its first bareboned section, “A Thousand Words,” is 100 pages, ten words per page, set in columns that give a nod to classical stanza form. Part Two, “and Others,” a coda of sparse lyrics, fills out the tone of what is barely implied in Part One. In a mixture of vernacular and stark poetics, he produces a book-length series that experimental novelist Lynn Crawford calls, “Lush. Rhythmic. Disturbing. Gorgeous.”
George Tysh’s two-part take on presence and absence is rooted in jazz and painting, French and Mandarin, memory and longing, in a recto-verso approach to structure. Its first bareboned section, “A Thousand Words,” is 100 pages, ten words per page, set in columns that give a nod to classical stanza form. Part Two, “and Others,” a coda of sparse lyrics, fills out the tone of what is barely implied in Part One. In a mixture of vernacular and stark poetics, he produces a book-length series that experimental novelist Lynn Crawford calls, “Lush. Rhythmic. Disturbing. Gorgeous.”
George Tysh's two-part take on presence and absence is rooted in jazz and painting, French and Mandarin, memory and longing, in a recto-verso approach to structure. Its first bareboned section, "A Thousand Words," is 100 pages, ten words per page, set in columns that give a nod to classical stanza form. Part Two, "and Others," a coda of sparse lyrics, fills out the tone of what is barely implied in Part One. In a mixture of vernacular and stark poetics, he produces a book-length series that experimental novelist Lynn Crawford calls, "Lush. Rhythmic. Disturbing. Gorgeous."
George Tysh teaches Film Studies and Poetics at the College for Creative Studies in Detroit. A recipient of a 2015 Kresge Artist Fellowship, his latest books include The Imperfect (United Artists, 2010) and The Slip (BlazeVOX, 2015).
Addie Langford is a Detroit painter and ceramicist (represented by Hill Gallery of Birmingham, Michigan) whose work reflects her varied background in painting, ceramics, drawing, fabrics, and structural influences from architecture and craft. Her website is at addielangford.com.
Book Information:
· Paperback: 146 pages
· Binding: Perfect-Bound
· Publisher: BlazeVOX [books]
· ISBN: 978-1-60964-361-4