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A doctor contemplates Lenin's embalmed body; two angels flank an open chest during a heart transplant; a father's anger turns into a summer thunderstorm... Each of Levin's poems is an astonishing investigation of human darkness, propelled by a sensuous syntax and a desire for healing.
"This is the language of a prophet: Levin's art, in this book certainly, takes place in a kind of mutating day of judgment: it means to wipe a film from our eyes. It is a dare, a challenge, and, for all its considerable beauty, the opposite of the seductive...Sensuous, compassionate, violent, extravagant: what an amazing debut this is, a book of terrors and marvels."-Louise Gluck, from the Introduction
Dana Levin was raised in Lancaster, California, in the Mojave Desert. She has received fellowships, grants, and awards from the National Endowment for the Arts, the Academy of American Poets, the Vermont Arts Council, and New York University, where she received her M.F.A. She lives in New Mexico and teaches Creative Writing at the College of Santa Fe.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Brock Smith
reviewed In the Surgical Theatre on July 13, 2008 In the Surgical Theatre
I re-read this on the train this week and upgraded my review, because I'd forgotten/never noticed how effing amazing the first section is. The second and third sections don't quite (quite) blow the top of my head off in the same way, but hey. I can see their projects more clearly now--I think I was just too young/dumb/envious when I read this before. It's stupendously good--as Gluck says in her introduction, its consistency and coherency and just plain balls-out strength of voice, for a first book, are astounding. That it's paced throughout the whole ms without losing its sense of urgency is even more of an accomplishment. Levin seams vast swaths of poem together with devices such as the repeated insistent questioning (variations on Plath's "Will you marry it, marry it, marry it?")--and maybe I never got before this reading that the "you" of almost all the poems indicates a direct challenging address to the self? What can I say, I'm slow to catch on. Fantastic stuff which I will urge onto students for as long as they let me.
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