 | | Additional Information about If in Time
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| Synopsis | The volume selects poems from throughout the distinguished career of Lauterbach, a former MacArthur fellow. Lauterbach's innovative work has wrestled with philosophic and aesthetic issues since her first book, published in 1979, identified her as an important voice in the discourse of avant-garde poetics. Here, selections from her five books are presented counter-chronolgically, opening with 19 as-yet-uncollected pieces.
| | Details | | Series: | The Penguin Poets |
| | Size | | Length: | 253 pages | | Height: | 9.0 in. | | Width: | 6.0 in. | | Thickness: | 0.8 in. | | Weight: | 13.6 oz. |
| | Publisher's Note | Representing more than two decades of work, this collection of musically charged poetry features selections from each of her first five collections, as well as original poems created specifically for this volume. Original.
| | Industry reviews | "In showcasing Ann Lauterbach's poetic development over a quarter century, IF IN TIME manifests that she has broken free of the dependence on Ashbery's sensibility suggested by the early work of the seventies and some of the middle work of the eighties. Since then, she has been in dialogue with the Language poets, the New York School, and feminist experimentalists, and Lauterbach has found new forms for expressing the continuousness of change: its ways of summoning and disrupting intimacy, of evoking and subverting the position of women in culture, of evoking a 'collage' of fragmentary perceptions and the framing and decentering play of language itself."
Boston Review - Thomas Fink
"Ann Lauterbach is too delighted by the exuberant cadence of verse to be a card-carrying Language poet, and her feminist ponderings inhibit her from easily fraternizing with the New York School poets. For over two decades, Lauterbach's poetic trajectory has been unique, constellating the tattered fabric of self with language full of auguries, parenthetical asides, found slogans, and glass-cut images...[O]verall, what differentiates Lauterbach from the newer poets who thrill in today's channel-surfing consciousness is that she freeze-frames our fleeting landscape in a language that is more philosophical than pop theory, more painterly than Polaroid."
Voice Literary Supplement (05/01/2001)
"[The] first page ends 'where what is is / changed by language'. Lauterbach s poetics can be summed up in that enjambment, between 'what is is' and 'is /changed.' The body of her work contains, is, an idea, and an important one to the history of the lyric...."
How2 - Susan M. Schultz
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