Crush (Yale Series of Younger Poets)

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Still, some of the images he constructed were pretty clever, and they make good use of language in expressing perceived queer inadequacy. I just wish these were more frequent!! You, the moon. You, the road. You, the little flowers/by the side of the road. You keep singing along to that song I hate. Stop singing." -Road Music You can’t get out of this one, Henry, you can’t get it out of me, and with this bullet lodged in my chest, covered with your name, I will turn myself into a gun, because I’m hungry and hollow and just want something to call my own. I’ll be your slaughterhouse, your killing floor, your morgue and final resting, walking around with this bullet inside me like the bullet was already there, like it’s been waiting inside me the whole time. Do you want it? Do you want anything I have? Will you throw me to the ground like you mean it, reach inside and wrestle it out with your bare hands? If you love me, Henry, you don’t love me in a way I understand. The stunningly intimate photograph on this anthology's cover is where my initial interest lay and I was not disappointed by the just as raw contents that lay underneath it. This powerful collection of poems is extravagant and erotic, confrontational and confused, bloody and brutal, ferocious and feral. Siken delivers something so unapologetic that it feels like his soul delivered up to the reader in the form of paper and ink. It spins like a wheel inside you: green yellow, green blue,/green beautiful green./It's simple: it isn't over, it's just begun. It's green. It's still green." -Meanwhile

how we rolled up the carpet so we could dance, and the days were bright red, and every time we kissed there was another apple

Ugh why does everyone love this book? Siken, the winner of the 2004 Yale Series, is clearly a capable poet, and there were a few moments in this collection that were beautiful and lucid. Otherwise, though, the poems are so overblown (too many words going in too many directions) and drowning in imagery of bodies, knives, and death. Oh, and SO much cheesy, disembodied dialogue. This is not a book about Prometheus, but it may as well be. (We are playing with fire here, after all. At least, love can feel like a fire.) Every poem in this book is essentially the same. The poems are strong individually, but read together, they build something stronger. Images are repeated again and again with only slight variations (driving on the road, running out onto the road, lying in the road). The poems can’t help but to return to the same thing again. It’s painful, but it’s a delicious pain, glorious in love and lust and in being alternately strong and vulnerable. Tell me about the dream where we pull the bodies out of the lake and dress them in warm clothes again."

You're in a car with a beautiful boy, and you're trying not to tell him that you love him, and you're trying to choke down the feeling, and you're trembling, but he reaches over and he touches you, like a prayer for which no words exist, and you feel your heart taking root in your body, like you've discovered something you don't even have a name for. A powerful collection of poems . . . at once confessional, gay, savage, and charged with a violent eroticism.- Forecast Vital, immediate, and cinematic in scope, [Siken's] verse offers sharply observed vignettes of longing, love, and pain.- Library Journal (Best Poetry of 2005) It changed me, and I'm not even kidding or exaggerating. I read it (or devoured it might be more accurate) and suddenly found a side of myself put into words. Words I was never able to find myself, but needed more deeply than I'd realised.Siken is beyond talented with words, that much is clear, this entire collection is a work of pure art, something you rarely find these days. Every line is powerful, it's got secrets. Every poem has meaning, and soul and something deeply terrifying about it. I'll never stop reading this book, and that's the great thing with poetry, analyzing, understanding and interpreting and simply feeling it, is a never-ending process. I carry his words with me everywhere, both in the shape of his actual book, but also in who I am. I think that's the most beautiful piece of poetry I've ever read. I won't convince you. Here's my fav poem.

You’re in a car with a beautiful boy, and he won’t tell you that he loves you, but he loves you. And you feel like you’ve done something terrible, like robbed a liquor store, or swallowed pills, or shoveled yourself a grave in the dirt, and you’re tired. You’re in a car with a beautiful boy, and you’re trying not to tell him that you love him, and you’re trying to choke down the feeling, and you’re trembling, but he reaches over and he touches you, like a prayer for which no words exist, and you feel your heart taking root in your body, like you’ve discovered something you don’t even have a name for." I can’t NOT give Siken some credit, as this book was published in 2005 and I’m convinced it must have had some sort of impact or influence on the contemporary poets I regularly enjoy reading (Crispin Best, Sam Riviere and even Richard Scott kept coming to mind, for instance). And then, I don’t like treating contemporary poems as tiny puzzles asking to be made sense of. In fact, I normally avoid trying to grasp the meaning behind every single line – “a good poem understands itself”, as Emily Berry put it in an interview for Chicago Review of Books. Besides, with contemporary poetry, I’m trying my best to enjoy the ride and genuinely have a good time.Siken's debut collection derives its energy from the friction among bodies, selves, and lovers. . . . This book will excite patrons and be long remembered. Recommended for all collections.- Library Journal You are playing cards with three Jeffs. One is your father, one is your brother, and the other is your current boyfriend. All of them have seen you naked and heard you talking in your sleep. Your boyfriend Jeff gets up to answer the phone. To them he is a mirror, but to you he is a room. Phone's for you, Jeff says. Hey! It's Uncle Jeff, who isn't really your uncle, but you can't talk right now, one of the Jeffs has put his tongue in your mouth. Please let it be the right one." How it was late, and no one could sleep, the horses running until they forget that they are horses. I liked the first poems the most, but I'm not sure whether it's because I did like them or because I was still optimistic about the book. After a few poems you notice the repetition pretty early on. I figured it was a reoccurring theme type thing, which I usually grow fond of, but it kind of felt like saying the same thing over and over. After the first few poems it lost me until the second to last poem which I liked in a weird-dream-sequence kind of way, but even that dragged on just a little too long. The collection of poems contemplate infatuation, intimacy, loss, and grief. It is said that Siken's main inspiration was the death of his boyfriend in the early 1990s. [2]

Richard Siken his debut bundle is exciting. The American setting, with derelict towns, very much reminded me of Ocean Vuong his novel On Earth We're Briefly Gorgeous, and the thematic overlap continues with the focus on gay love. At times bitter, harsh and disappointed, sometimes lyrical, the poems in Crush feel both urgent and true. Bullets, movie-like violence, car rides, stitches and gritty motel rooms form recurring themes in this bundle. The world sketched is grimy and bleak, with occasional flashes of beauty and tenderness, despite violence I have never in my life anticipated the arrival of a book more than I did with this. My entire body was aching for it. And then it arrived. Litany in Which Certain Things Are Crossed Out is a brilliant poem on love and all the stories and roles we project upon it, even if the outcomes are far from what we expected based on childhood templates of fairy tales. Violence is also something that permeates the poetry of Crush, giving it a gritty and slightly desolate feel. I am in love with it. That's the easiest way to put it. My copy is worn out from being opened, read in, then thrown onto the table or put carelessly down as I try to gather myself up from my messy emotional pile on the floor and try to deal with, well... myself.What the book doesn’t tell you directly is that Richard Siken was partially influenced by the death of his boyfriend. I don’t want to make any assumptions here about how that has influenced the content, but I will say that the poems read like a lover trying to move on from something that is, well, crushing. Moving on is not something you can just will yourself to do. SIken's Crush, his first book which also won the Yale Young Poets' award in 2004, is one of he most complete works of poetry I've come across in years.