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Poetry. This prose-poem sequence opens with the following sentence: "Scenes left on the cutting room floor flower into their own scenery." Such an auspiciously suggestive start functions as a distillation of the book's prismatic echo chamber, where painterly lyricism and narrative probing converge within each musically astute sentence. This is a symphony of partial happenings, ghostly movements, and investigatory ruminations, a stroll through an exhibit of painting that seem to stare back at the viewer: captivating, gorgeous, and just a little bit scary. Sara Veglahn is the author of several…mehr

Produktbeschreibung
Poetry. This prose-poem sequence opens with the following sentence: "Scenes left on the cutting room floor flower into their own scenery." Such an auspiciously suggestive start functions as a distillation of the book's prismatic echo chamber, where painterly lyricism and narrative probing converge within each musically astute sentence. This is a symphony of partial happenings, ghostly movements, and investigatory ruminations, a stroll through an exhibit of painting that seem to stare back at the viewer: captivating, gorgeous, and just a little bit scary. Sara Veglahn is the author of several chapbooks, teaches prose workshops and literature seminars in Naropa's Department of Writing and Poetics and is the current Associate Editor of the DENVER QUARTERLY.
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Autorenporträt
Sara Veglahn is the author of The Ladies: A Novel (Noemi 2017), The Mayflies (Dzanc 2014), Another Random Heart (Letter Machine 2009), and Closed Histories (Noemi 2008). She earned an MFA from UMass-Amherst and a PhD in literature and creative writing from the University of Denver. She currently lives and writes in Denver.