Rachel Blau DuPlessis's Drafts 3-14 is maximal poetry.
Her rich and manifold range of reference and expression--emotional, intellectual,
and observational--is illuminated through a dazzling array of techniques.
These poems never let us settle down and never let us down. Strong feeling,
complex thought, precise observation, and superb technique--what more
do we need?
--Jackson Mac Low
This is cutting-edge writing: cerebral, funny, elliptical, bodily, insurgent,
a strategic surprise around every corner, experimental as the mind itself.
Drafts--breezes under the door, through the cracks of language; intoxicating
fluids; writing of maximum immediacy and swiftness.
Modernism's impulse to defer the "end of history" (both as telos
and terminus) is central to these Drafts. Rachel Blau DuPlessis
is writing a kind of history of the end in which all knowledge is temporary
or tentative, unremembered, censored or distorted, lapsed, smashed, decayed.
The figure of the writer picking through the detritus is associated metonymically
with the fractured parts of the world, parts of speech, the departed,
the dead. In the act of postponement (which writing in some sense always
is) she reclaims the space of an (un) imaginable future. These poems,
dense and discursive, cast a shadow, which is amazingly congruent with
the reader's own sense of reality.