Poetry. "To read CHOMP AWAY is to take a crash course on the notion of dread as primal poetic value, with a consciousness filter bent towards humor. Every poem contains transparent seams managing a trophy wall of tortured, ordinary, far-out-to-far-in syntaxes that Gardner deftly parodies, ultimately generating wild, empathetic voice-structures the longer poem "Twilight SysPoetry. "To read CHOMP AWAY is to take a crash course on the notion of dread as primal poetic value, with a consciousness filter bent towards humor. Every poem contains transparent seams managing a trophy wall of tortured, ordinary, far-out-to-far-in syntaxes that Gardner deftly parodies, ultimately generating wild, empathetic voice-structures the longer poem "Twilight System Joy Mechanics" being an especially masterful example of this aimed at unbridled power and its supporting cast of popular deflections" Anselm Berrigan."...
|Number of Pages||:||98 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Chomp Away Reviews
Chomp Away is to Petroleum Hat, Gardner’s last book, what maybe Brighten the Corners was to Pavement’s Wowee Zowee; an advance that confirms the gains of the earlier work while also smoothing and extending the tone. Gardner deploys an easy but slippery ‘I’, one that quickly locates a reader familiar with the syntactically shapely lyric, then launches her out into an image world of swan vomit, cephalopods, transluscent worms, “the Loch Ness monster, leprechauns, and terrorism,” and a gallery of rascals both vicious and inert from the news feeds. (In one poem alone, I counted Al Gore, Larry David, O.J. Simpson, Alan Dershowitz, Timothy McVeigh, Raymond Chandler, Adolph Hitler, Dick Cheney, Paul Wellstone, Mary Kate and Ashley Olsen, Neil Young, Rush Limbaugh, and Jesus.) The wild signifying turns around a firm moral center that matches the Republican Code Yellow, War on Terror state absurdity for absurdity. More than that, Gardner zeroes in on the medium that sustains their messaging: parataxis dressed up as rational discourse, non sequiturs delivered as bromides, the channel surf packaged as life information, demographic predilections treated as coherent selves. What happens to lyric poetry under these amped-up semantic conditions? Where does the lyric’s most notorious presumption, the private self, find a space for its “aftershocks of pleasure”? “Such dialogue detached/from the story’s setting/tends to echo”; Chomp Away puts its faith in a controlled blast of reverb to free sound from the stories that distort it.
K. Silem Mohammad on Chomp Away: Throughout Chomp Away, his stunning third book, Drew Gardner dishes out large portions of one of the poetic sensations I value most: the feeling of language not merely coming out of a person, but transforming that person--or the idea of any person--in the process. That some of the language is derived from Google search text is important only mechanically; what matters is Gardner's unerring ability to synthesize found fragments and original phrasing into a deconstructive whole that itself resists deconstruction. These poems are ridiculous, horrifying, beautiful, profane, and somehow profound, even in their anarchic refusal to yield the genteel platitudes we have been conditioned to see as reflective of a 'sincere' or 'authentic' human sensibility. 'Material,' writes Gardner: 'It is surely not charm-free." Chomp Away proves this repeatedly as it removes the distinction between material and immaterial, between disenchantment and total charm.