Item description for The Late Show: Poems by David Trinidad...
"Deeply personal, yet coolly postmodern, no other writer besides David Trinidad makes the interface between our private memories and our cultural ones seem so seamless. Variously giddy, gossipy, melancholy, obsessive, and euphoric, Trinidad's voice has an amazing plasticity as he slips between genres and forms, tradition and invention, with assurance and grace. The Late Show is a unique collection of interlocking facets: part literary memoir, part film encyclopedia, part shrine and memento mori-and always undeniably, pure poem."-Elaine Equi
"A beautiful study in detail and devotion. . . . Frame by frame this book is a tremendously engaging, soulful read."-Anselm Berrigan
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Est. Packaging Dimensions: Length: 0.25" Width: 6.5" Height: 9.25" Weight: 0.5 lbs.
Release Date Sep 1, 2007
Publisher Turtle Point Press
ISBN 1933527099 ISBN13 9781933527093
Availability 0 units.
More About David Trinidad
David Trinidad (born 1953) is an American poet. Trinidad was born in Los Angeles, California. In the early 1980s, he was one of a group of poets who were active at the Beyond Baroque Literary/Arts Center in Venice, California. Other members of this group included Dennis Cooper, Bob Flanagan, and Amy Gerstler. As editor of Sherwood Press, he published books by Cooper, Flanagan, Gerstler, Tim Dlugos, Alice Notley, and others. In 1988, Trinidad relocated to New York City. He received his Master of Fine Arts from Brooklyn College in 1990. He taught at Rutgers University, the New School, and Princeton University. His collection PLASTICVILLE (2000) was a finalist for the Lenore Marshall Poetry Prize of the Academy of American Poets. In 2002, Trinidad moved to Chicago to teach at Columbia College Chicago, where he co-founded the literary journal Court Green. In addition to his own books of poetry, Trinidad has edited A FAST LIFE: THE COLLECTED POEMS OF TIM DLUGOS (Nightboat Books, 2011) and the earlier selected Powerless (Serpent's Tail, 1995), Holding Our Own: The Selected Poems of Ann Stanford (with Maxine Scates, 2001), and Saints of Hysteria: A Half-Century of Collaborative American Poetry (with Denise Duhamel and Maureen Seaton, 2007). Trinidad's personal papers are archived at the Fales Library at New York University.
David Trinidad currently resides in New York City, in the state of New York. David Trinidad was born in 1953.
Reviews - What do customers think about The Late Show: Poems?
How Can I Meet Others Like Myself? Feb 14, 2008
Trying to remember the very first book by David Trinidad I read. Could it have been MONDAY MONDAY, or perhaps one of the smaller cxhapbooks that preceded it? In any case, opening its pages, I felt like Pat Boone in STATE FAIR, In the wonderful words of Rodgers & Hammerstein, "I know what I like, and I liked what I saw/ And I said to myself, 'That's for me.'" Ever since then I've been a sucker for this work, and as if to reward me for 25 years of fan devotion, David T has come out with what is perhaps his best book yet, the most generous, the most expansive, and the one that shows, after all these years, that he is still a searcher, pounding out holes in the poetic universe with his fists and teeth and feet, the Bruce Lee of the transcendent poetic pop lyric.
The saddest, "Penelope," recounts the tragic tale of starlet Natalie Wood in rhymed quatrains as though she were one of Edward Lear's Jumblies, as indeed she was. While she (and Ann Margret) will forever stand in cinematic memory of emblems of breathless youth, Trinidad explores the tragedy of what happens in Hollywood when a star gets a year too old and endures "three flops in a row." Without recourse, or psychological underpinning, "The movie star took to bed,/ A steady diet of red pills/ Numbed overwhelming dread." Identified for many years with the novel VALLEY OF THE DOLLS and the epochal Mark Robson film based on it, Trinidad is always alert for further dollification trends, and in our modern world, dosed with heartbreak and disorientation, he finds them with regularity.
Into his vortex he brings the spirit of Oscar Wilde, children's toys re-seen in the Yellow Book style of portentous doom, and another remakes a poem by Emily Dickinson, in a perfect pastiche involving lipstick, party dress, "costume" in its ancestral sense, the outward raiment anagogically disclosing the innermost soul of the wearer. Like Spenser and Shakespeare, Trinidad proceeds in a continual parade of metaphors amd allegorical images, each one shading naturally into the one to follow. Whenever it's Chinese New Year here in San Francisco, and I watch the giant dragon move sinuously through the darkened streets around Kearny, I think of Trinidad's longer poems and how the pieces fit so beautifully together, and yet they become a whole greater than any individual part, a sometimes scary and threatening and glamorous whole, a machine made of words as W C Williams said.
The great setpiece is called "A Poem Under the Influence," in which the author movees from memory to memory in great splashing liquid sheets, as though on the set of FLIPPER or THUNDERBALL in the Bahamas. One of the reasons I enjoy it so much is that it's so absolutely daring, a far cry from the perfect sestinas and haikus and the counting that characterize so many of his best and best loved pieces. Trinidad has always had an autobiographical cast to his verse and in "Influence," you can feel the sheer relief and pleasure in bringing all of his obsessions to the surface all at once, in a masterful display of prosody and power, intertwined like the Yardley symbols that decorate the cover of this volume. Like the tiny "Dancing Men" of the Sherlock Holmes code story we all read as children, these tiny interlaced characters act as codes, or rebuses, for more complicated webs of emotion. Yardley "lace" activates complex formulas of sixties youth power, UK freshness, and an astringent nostalgic so potent it fuels the poem into overdrive. It's so capacious I found myself in it--literally. You probably will too.
Moving (and movies, too) Sep 28, 2007
For those already familiar with what David Trinidad does in his poems, prepare to be wowed--this book takes the best of his previous efforts and skills and uses them to full, poignant advantage in a book that is as heartfelt, sweet and melancholy as it is playful, witty and innovative.
For those unfamiliar with Trinidad's work, I'll bet you never knew so much could be done with the cultural ephemera of our historical moment. These poems are like nobody else's--but you will recognize yourself and your world instantly in them.