Quite Apart

Quite Apart asks 'what about after survival?' in a chronicle of attempts to have a heart in a rough world. Haunted by work and its wasted hours, the book offers a glimpse of self-rendered as subtext beneath the sheen of productivity. Inventive formal poems provide a kind of alibi, mirroring the inflexibility of the environment-driving through mountains, bleeding in alleys, losing keys in a bar parking lot-to allow some emotion to pass through, tenderness intact. The action among forms of address moves across the sections from direct to readerly, to more distant, back to the last/lost sequence, and ultimately into an intimate direct address, which builds up a reserve of trust adequate to collapse the distance of a cool operator. Mediated by grammatical invention, the collection enacts the making of an authentic place and self, reckoning with difficult truths (failures, omissions) to arrive at a state of peace having weathered some storms. It returns to a core and singular perspective, a knowing eye, that captures absurdity and tragedy, the absurdity of tragedy, to find-beyond vigilance-a balance between acceptance and bucking, which is perhaps another name for love.