Testament

by G.C. Waldrep

Overview

In this book-length poem, G.C. Waldrep addresses matters as diverse as Mormonism, cymatics, race, Dolly the cloned sheep, and his own life and faith. Drafted over twelve trance-like days while in residence at Hawthornden Castle, Waldrep responds to such poets as Alice Notley, Lisa Robertson, and Carla Harryman, and tackles the question of whether gender can be a lyric form.

G.C. Waldrep's books include Disclamor (BOA Editions Ltd., 2007) and Your Father on the Train of Ghosts (BOA Editions, Ltd., 2011). He lives in Lewisburg, Pennsylvania, where he teaches at Bucknell University, edits West Branch, and serves as editor-at-large for the Kenyon Review.

Product Details

ISBN-13:	9781938160639
Publisher:	BOA Editions, Ltd.
Publication date:	05/12/2015
Pages:	144
Product dimensions:	5.90(w) x 8.90(h) x 0.60(d)

About the Author

G.C. Waldrep: G.C. Waldrep’s most recent books are Your Father on the Train of Ghosts (BOA Editions, 2011), a collaboration with John Gallaher; The Arcadia Project: North American Postmodern Pastoral (Ahsahta, 2012), co-edited with Joshua Corey; and a chapbook, Susquehanna (Omnidawn, 2013). Waldrep’s work has appeared in Poetry, Ploughshares, APR, New England Review, New American Writing, Harper’s, Tin House, Verse, and many other journals, as well as in Best American Poetry 2010 and the 2nd edition of Norton’s Postmodern American Poetry. Waldrep has received prizes from the Poetry Society of America and the Academy of American Poets as well as the Colorado Prize, the Dorset Prize, the Campbell Corner Prize, two Pushcart Prizes, a Gertrude Stein Award for Innovative American Writing, and a 2007 National Endowment for the Arts Fellowship in Literature. Waldrep lives in Lewisburg, PA, where he teaches at Bucknell University, is Editor for the literary journal West Branch, and serves as Editor-at-Large for The Kenyon Review.

Table of Contents

Part I The Imagined Placticity of the Visible 9

Part II Notes from a City Silence Fled 31

Part IIIa Chromotherapy & Union 65

Part IIIb Ore: Rift 79

Part IIlc This Mitigating Happenstance 101

Part IV Infolds & Unspires 119

Part V The Cherry-Tree Singing 127

Note(s) 146

About the Author 149

Colophon 154

Editorial Reviews

"Ultimately, Waldrep’s poem seeks a way in which to morally imagine and inhabit our dependence upon other bodies, and its discovery—its revelation and testament—is that one’s poem must in turn be inhabited and imagined by this dependency. Thus, the poem repeatedly opens itself up, vents, releases, incurs more and varied content, and bears the marks of it all: the seams are everywhere; it is a poem of seams. The poem acts as an endless receipt of things heard, taken in, mistaken, distorted, fought, and believed in. . . . In its utterly singular way, regardless of the dissonance it incurs along the way, Testament effects this reciprocity between the world within the poem and the poem within the world. Waldrep has given something wonderful: a poem whose testament can be trusted because it allows us to doubt."

—Poetry Northwest


“In dialogue with the historic tradition of the American long poem, Waldrep’s contribution to that tradition is elliptical, political, and memorable.”

—Academy of American Poets

"Testament is the sort of poem you have to wander through. It is ambitious and athletic, ever-climbing (like Icarus, who appears often) toward a breakthrough. The results can be messy, and not everything here fully arrests, but the endurance of attention has great rewards, and the poem promises lasting power and new insights with each reread."

—NewPages

"Hyper-referential, allusive, as private as it is public or pop, Waldrep’s Testament is thoroughly non-diegetic—exterior to the event of its compressed and cloistered writing. It is, therefore, and in its own strange way, a statement of faith: 'blessed is he / who does not see and yet, somehow, believes.'"

—Colorado Review

"The scope of the book is difficult to convey in a brief review, or I would try to unpack Waldrep’s exploration of sense and memory in the recurring image of the bee, the eye, and the flower; or attempt to summarize his inquiry into language in the third of the book’s five sections; or ask whether the references to ribs and flaming swords are intended to evoke Eden and the Fall, and whether that fall connects to the various references to Icarus. The most concise reference point that occurs to me, though—Notley, Robertson, and Harryman notwithstanding—is that Waldrep is the closest American poetry comes to Geoffrey Hill, in the music of his language, the range of his erudition, the integrity of his intellect, and the honesty of his doubt."

—Paul Scott Stanfield, of Ploughshares

From the Publisher