Objects of Hunger

by E. C. Belli

Overview

By turns stoic and ravaged, but always with gutting honesty, E. C. Belli invites readers to consider the smallest rooms of the intimate in this first collection. With each poem pared down to an elemental language both slight and clear, Belli’s work exhibits a surprising muscularity in its poise.

Objects of Hunger explores in reflective, raw lyrics the dread and beauty of our inner worlds as expressed through our struggles against the self and the other. Each poem is a slender organism that speaks its own mind, unafraid of pathos; the emotions here have been tried on and lived in, and the work accrues, lyric after lyric, page after page. In the second section, World War I poems are broken down and dismantled, as the voices of that era’s poets meld with that of a postpartum mother, exposing a shared vernacular among these disparate experiences. Other poems in the collection explore the unraveling and entrapments of the domestic, but with tenacity in place of softness, using a lexicon gathered from Virginia Woolf’s The Waves and Djuna Barnes’s Nightwood, among others.

What emerges is a finely chiseled portrait of intimacy, one that takes seriously love and all discord, the fracas of reticence and familiarity. Belli gives this world to us by way of a throbbing asceticism, in an exploration of resignation, concession, persistence, and monstrosity. This collection tells what it is to need with abandon.
 

Product Details

ISBN-13:	9780809337255
Publisher:	Southern Illinois University Press
Publication date:	03/11/2019
Series:	Crab Orchard Series in Poetry
Edition description:	1st Edition
Pages:	88
Product dimensions:	5.90(w) x 8.80(h) x 0.40(d)

About the Author

E.C. Belli is a bilingual poet and translator. Her translation of I, Little Asylum, a short novel by Emmanuelle Guattari, was published in 2014, and The Nothing Bird, selected poems by Pierre Peuchmaurd, appeared in 2013. She is the recipient of a 2010 Paul and Daisy Soros Fellowship for New Americans. Her work has been published in Verse, AGNI, and FIELD, among others. Her work in French has appeared in Europe: revue littéraire mensuelle and PO&SIE.
 

Table of Contents

I What Was

Argument 3

Junipers 4

The Road 5

The Pepper Shakers Were Filled to the Brim with Hosts of Swallows 6

Visual Analysis of Grief and You 7

Death Toll 8

II A Month of Grievances

Negotiation 11

Expectations 12

Afternoon 13

Disagreement 14

Concerns 15

Dispatch 16

The Unmentionable Worship of Idle Afternoons 17

Resolution 18

Opposition 19

Devotion 20

Optimism 21

Revelation 22

Nonchalance 23

Apology 24

Politics 25

Opinions 26

Persistence 27

Intimate 28

Couples Going Nude into the Sad Water 29

Wonderment 30

Littoral 31

Acrimony 32

All the Arts of Hurting 33

Proposal 34

The Immortelles of Perfect Pitch 35

Seduction Act 36

Parameters 37

Mercy 38

Beginnings 39

Saturnine 40

III Blur

What Was Said 43

Tête-à-Tête 44

The Possibility of an Ending 45

Almost a Lament 46

Postpartum 47

The Question of Surrender 48

An Autobiography of Asphalt 49

Memory 50

IV Might

Winding Down 53

One Dog Will Find Us Both 54

Sentience (cont'd) 55

Swallows 56

Vigilance 57

The Then & Now of Dusks 58

The Letter 59

Substance 60

The Only Love Poem 61

Manifest 62

Migrations 63

Notes 65

Acknowledgments 73

Editorial Reviews

The short spiky-lined lyrics of E. C. Belli are compressed only on the surface of the page; in the ear they are resonant, in the mind they unfold rooms of thought. Belli’s forms are smart, her voice is sure. This is not a haunted world; it is a world that itself haunts: with dark wit and a tender touch.”—Kazim Ali, author of Inquisition
 
“In her strongest poems, Belli’s styptic precision amounts to a vigilance verging on a cosmogony. She is perhaps the purest (not to mention most fiercely feminist) heir of Wilfred Owen, Edward Thomas, and Siegfried Sassoon: where there is blood there is also the promise of intimacy, and a gauge by which to measure it, whether she’s speaking of war, romantic passion, or childbirth. These are stately poems that cut toward the reader, then offer themselves up as bandages.”—G. C. Waldrep, author of feast gently and Testament

“In these playful and ethereal poems that constitute E.C. Belli’s intimate debut collection, the poet seeks for Seamus Heaney’s ‘immortelles of perfect pitch,’ in which each word glows and hums a tune, an emotion, an observation, a (non)-narrative or lyrical detail . . . ‘My feet are short sentences,’ she muses. Of books and their lives, she thinks out loud, ‘I remember / going home, / letting their names / out into the fields.’ At once simple and complex, these polished verses feel like pebbles, other times strings. They also remind me of haikus, their art of seduction, distance, and understatement. Despite their hunger and deceivingly short breath, Belli's ‘poetic objects’ are fresh, intelligent, and sensitive to the presence—or absence—of an elusive ‘other’: an otherworldly existence and realm where one might be reticent to name the absolute, yet ready to embrace the unseen and unknown.”—Fiona Sze-Lorrain, author of The Ruined Elegance, My Funeral Gondola, and Water the Moon

From the Publisher