Each poem in this manuscript takes up another poet's work- a selection that ranges from Lorca to CD Wright, Hồ Xun Hương to Sappho, Agha Shahid Ali to Ishrat Afreen-- and alters its DNA, infusing it with an other idiolect. This is an idiolect of pleasure (the wordplay, puns, and cadence of the Vietnamese language) and of pain (the long shadow of the Vietnam war in the lives of those who survived, barely survived, and became refugees). Like any possessing spirit, WAR IS NOT MY MOTHER speaks in tongues: using others' words to articulate a personal pain. Shorn of their original context and content, the poems in this collection-- mutant-hybrids who retain a trace of their skeleton while dressed in entirely other clothes-- become a play of voices that call into question notions of authenticity and self in poetic production, a postmodern twist for the classical craft.
Each poem in this manuscript takes up another poet's work- a selection that ranges from Lorca to CD Wright, Hồ Xun Hương to Sappho, Agha Shahid Ali to Ishrat Afreen-- and alters its DNA, infusing it with an other idiolect. This is an idiolect of pleasure (the wordplay, puns, and cadence of the Vietnamese language) and of pain (the long shadow of the Vietnam war in the lives of those who survived, barely survived, and became refugees). Like any possessing spirit, WAR IS NOT MY MOTHER speaks in tongues: using others' words to articulate a personal pain. Shorn of their original context and content, the poems in this collection-- mutant-hybrids who retain a trace of their skeleton while dressed in entirely other clothes-- become a play of voices that call into question notions of authenticity and self in poetic production, a postmodern twist for the classical craft.
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