Description
Verse. Latino/Latina Studies. Art. Memoir. In this bold and energetic debut, temporal malapropisms become purposeful play through Tamayo's poetics of code switching and homophonics. As Tamayo tackles the frustrations of the transnational immigrant experience, language "mistakes" become "missed aches" and she writes mother and female parent-natural language into one as "mouth her." A red thread intrudes throughout this corybantic mixed-genre assemblage, suturing identity to the folio by erasing text, embroidering images, and stitching collage together. Cathy Park Hong, 2010 Gatewood Prize estimate, promises the "advised, political, and bracingly original" [Cherry MISSED ACHES] will "startle you awake and demand your attention."
"Jennifer Tamayo'southward writing is cacophonous, rude, and stripped. She uses equal measures of English, Spanish, and Spanglish; she landmines her verse with malapropisms so the music is startling and pleasingly discordant. [Reddish MISSED ACHES] feels defiantly unfinished, adhering to a DIY feminist punk artful so that it is more rough aggregation than bound book, a palimpsest that provocatively revises female sexuality and citizenship. Tamayo's debut collection is a daring and astonishing piece of work that refuses borders."
—Cathy Park Hong, 2010 Gatewood Prize approximate "'[M]y immigrant ecstasies are / knots nestled behind / the sutures' reports Jennifer Tamayo in [RED MISSED ACHES]. Here, linguistic communication is a series of scar filaments, a record of cutting and suturing hybrid identities. These poems radically expose the false boundedness of the trunk and cultural identity, which snag and fail and bleed and reject to cohere into recognizable systems of pregnant. Tamayo performs the self equally limit experience, 'a figuring & fingering' of bilingualism that offers upwardly the immigrant torso as a defiantly unstable vehicle for meaning. These are borders that require our impropriety. In this exuberant debut, identity is perpetually migrating, and significant is in transit."
—Lara Glenum
"All bets on (or fantasies about) 'uncontested readability' are off. Challenging u.s.a. to bring together her in an exploration of the underside of our pregnant-making, where what we know as verse or narrative reveals ragged, knotted threads, and the violence of communication and community-making becomes apparent, Jennifer Tamayo's piece of work holds out to us the hope of new and truer connections between various populations. The remarkable originality, daring, and sheer excitement in her poetry comes from the recognition that identity is a restless, contested, complicated site, and that read-power is based non on the stability of author or reference, but the response-ability of writer and reader alike."
—Laura Mullen
Writer Bio
Jennif(f)er Tamayo is a queer, migrant, latinx poet, essayist, and performer. JT is the daughter of Nancy, Flora, Leonor y Ana. Her books include [Red Missed Aches] (Switchback, 2011) selected by Cathy Park Hong for the Gatewood Prize (2010), Poems are the Simply Existent Bodies (Bloof Books 2013) and YOU DA ONE (2017 reprint Noemi Books & Letras Latinas's Akrilica Series). Her essays and poesy have been widely published including in Poetry magazine, Best American Experimental Poetry, Mandorla: Writing from the Americas, Bettering American Poesy 2015, and Angels of the Americlypse; An Anthology of New Latin@Writing. She has held fellowships from NYU's Hemispheric Institute for Performance and Politics and CantoMundo. Currently JT is studying the liberatory possibilities of phonation and voicing. Yous tin can find their writing and art at www.jennifertamayo.com.
Writer City: Sacramento, CA Usa
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