By Katie Ford
In Katie Ford's 3rd assortment, she units her track into lyrics wrung from the world's hazards. Blood Lyrics is a mother's tune, one seared with the information that her nation wages lengthy, aching wars during which now not all lives are equivalent. there's good looks imparted, too, however it arrives at a value: "Don't say it's the attractive / I praise," Ford writes. "I compliment the human, / gutted and rising."
"Katie Ford's is a finely-wrought lyrical good looks, a poetry of aspect and care, yet she has set it inside of an epic arc." —Poetry
"Katie Ford’s beautiful new assortment, Blood Lyrics, files the impassioned reckonings of a mom whose upfront born daughter struggles slowly towards overall healthiness and defense. those poems come to be wrenching interrogations of religion because the speaker searches, frequently in useless, for any panorama of consoling wholeness or metaphysical peace. Ford additionally confronts the extra public international, the single given over to battle, torture, and perpetual violence. The strain of prayer either drives and breaks aside those blood lyrics, which assemble web page by way of web page into a fantastic tune of fierce decision and defiant praise."—David St. John
“It will be adequate to have this one poem: ‘To bomb them / we mustn’t have heard their music’—but there’s even more within the e-book. Katie Ford is laconic, sharp, remarkable. There’s poetry in those poems.”—Adam Zagajewski
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Additional resources for Blood Lyrics
16 And Rip was slowly made aware that he, Van Winkle, was not here 14. Crane’s cinder pile is a desacralized version of the spirit-haunted spot described by Irving in the Postscript to ‘‘Rip van Winkle’’: ‘‘The favorite abode of this Manitou [Indian spirit] is still shown. It is a great rock or cliff in the loneliest part of the mountains. . Near the foot of it is a small lake . . with water snakes basking in the sun on the leaves of the pond lilies which lie on the surface. ’’ Snakes figure elsewhere in The Bridge as symbols of time, eternity, and seductive femininity; here they belong to one of the personal memories triggered by the hurdy-gurdy.
One of the most pervasive racist stereotypes of the first half of the twentieth century depicted African Americans as chicken thieves, supposedly because they were inordinately fond of fried chicken. The origins of the idea are a matter of dispute, but it was widely disseminated both in the minstrel shows of the nineteenth century and in early movies, including the Edison Company’s The Chicken Thieves (1896) and Biograph’s The Chicken Thief (1904). D. W. Griffith’s 1915 epic Birth of a Nation contains an infamous scene in which black legislators in the Reconstruction South lounge with bare feet on their desks and eat fried chicken while seeking to pass laws legalizing interracial marriage (‘‘miscegenation,’’ in the racist jargon of the day).
The angel’s utterance, following the quoted couplet, is the Ave Maria: ‘‘Ave Maria, gratia plena, Dominus tecum’’ (‘‘Hail Mary, full of grace, the Lord is with thee’’). 34. ‘‘Cordage tree’’ refers figuratively to Columbus’s ship via its masts and rigging and, proleptically, to Brooklyn Bridge via its suspension cables. Environed by the Angelus, the tree may also—the usage is traditional—suggest the cross. 35. ’’ The God of Whitman’s poem is unknowably remote (in Crane’s terms, he both ‘‘sleeps on himself apart’’ and incarnates an ‘‘incognizable Word’’), and yet he becomes fully present in the form or figure of the sea.
Blood Lyrics by Katie Ford