The world until the glass vases. Dozens of
Objects I’d worn against it had been six
Matched earrings; arrayed once or twice but
I, I used to live there. The room
On a scallop shell was filled with beautiful
Storage for today, & then: I left for good.
Eschewing prevailing poetic fashion, Sooner reimagines poetry as a kind of cubist fascination, at times even a fascination with fascination itself.
In Sooner, Christakos’s most tender, lucent book to date, we find the delusory spiral reasoning of artistic schools; the fluid politic of desire, gender and domesticity; the recurrent trials of revulsion and arousal – all shined through Christakos’s unique prismatic style to emerge in new, striking and often dissonant syntaxes.
This is the music of a keenly tuned mind listening to all of its stations at once, a poetry of menace and possibility, clear sight and ambiguity, love and darkness, jealousy and light. If to know is to feel precisely, as another poet once suggested, Christakos makes it clear the opposite may be just as true, and that the devil is still in the details: You don’t know what you think or feel. You only think and feel you know, and wave from the window...
Praise for Christakos’s last book, Excessive Love Prostheses:
‘[It] begs the question, Is Margaret Christakos the love child of David Cronenberg and the queen of the confessional poets, Sharon Olds? … Much of this writing shocks for its originality.’ – Georgia Straight
‘Beautifully restrained poetry shot through with sardonic humour and rendered even more interesting by Christakos’s seriously playful manipulations of language.’ – Calgary Herald