An ethereal new collection that is “visceral with intellection” (David Lau) Winner of the Bollingen Prize Finalist for the National Book Award Finalist for the Pulitzer Prize for Poetry Finalist for the PEN Open Book Award Finalist for the Kingsley Tufts Prize A Treatise on Stars extends Mei-mei Berssenbrugge’s intensely phenomenological poetics to the fiery bodies in a “field of heaven…outside spacetime.” Long, lyrical lines map a geography of interconnected, interdimensional intelligence that exists in all places and sentient beings. These are poems of deep listening and patient waiting, open to the cosmic loom, the channeling of daily experience and conversation, gestalt and angels, dolphins and a star-visitor beneath a tree. Family, too, becomes a type of constellation, a thought “a form of organized light.” All of our sense are activated by Berssenbrugge’s radiant lines, giving us a poetry of keen perception grounded in the physical world, where “days fill with splendor, and earth offers its pristine beauty to an expanding present.”
"L=A=N=G=U=A=G=E started as a bimonthy magazine of infrmation and commentary, a forum for discussion and interchange. Throughout, we have emphasized a spectrum of writing that places its attention primarily on language and ways of making meaning, that takes for granted neither vocabulary, grammar, process, shape, syntax, program or subject matter. All of these remain an issue. Focussing on this range of poetic exploration, and on related aesthetic and political concerns, we have tried to open things up beyond correspondence and conversation: to break down some unnecessary encapsulation of writers (person to person, & scene from scene), and to develop more fully the latticework of those involved in aesthetically related activity. ..."--Repossessing the word, P. IX.
Poetry. "'Against Suicide' is the title of one sequence in STRIVEN, THE BRIGHT TREATISE but could just as easily stand for the whole. A lyric manifesto, by turns probing and furious, STRIVEN, THE BRIGHT TREATISE enlarges upon the poet's brother's death in 2007. 'Can you psalm / this limit-work, ' Pethybridge asks, echoing Zukofsky; the limit of such work-in-language, such unpronounceable grief, is, ultimately, a Nessus-garment of a text, 'a shirt of beautiful / noise.'" G. C. Waldrep "In his cunningly evolving repetitions, in his provocative use of constraints, and in his adaptations of great works (from Dante's to David Bowie's), Pethybridge's STRIVEN, THE BRIGHT TREATISE exemplifies every element of Theodor Adorno's assertion that the unresolved antagonisms of reality reappear in art in the guise of immanent problems of artistic form. Pethybridge reveals a complex of eroding societal values and human failings as he navigates the impossibility of coming to terms with his brother's suicide. But, even as he reveals, he uses his formal range to query the vanity of trusting any lyric as a device capable of conveying the enormity of revelation that suicide engenders. Each formal design strives to bring to light more of the irresolvable elements that constitute this crisis of loss, though the poems are, in fact, testament to the possibility of shedding the brightest light on the motivations activating the agency of such striving. It is not a book bent upon understanding, and certainly not condoning, the choice of suicide though Pethybridge unearths many of the societal and personal antecedents of such a choice. Rather it is a text that formally explores every interstice of the zone between the irretrievable past and ongoing present, which the grammatical form of the word 'striven' suggests (past participle, used in the perfect tenses). This is a poetry that helps us to perceive that interminable bridge between past and present in all of its terrible normalcy, a bridge that carries us to the core of our human condition." Rusty Morrison "Sleeplessness and boundless sleep. These two poles constrain Jeffrey Pethybridge's STRIVEN, THE BRIGHT TREATISE. Rather, these are two obvious limits within which the book is made. Pethybridge is a formalist of the best sort, wracked into song by relentless reconsideration of the impossible situation any limit presents in itself: stretched between his bonds and singing in 'middle living.' This study in fraternal grief is also an anatomy of the process whereby we bear directly into pain, not that we 'lose the name of action, ' as Hamlet would have it, but as the only way to act and effectively to live out 'the haul of days.'" Aaron McCollough"
