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Listening in / Lynley Edmeades.

By: Edmeades, Lynley [author.].
Material type: materialTypeLabelBookPublisher: Dunedin : Otago University Press, 2019Description: 96 pages ; 24 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 1988531780; 9781988531786.Genre/Form: New Zealand poetry -- 21st century.DDC classification: NZ821.3 Summary: "In this original second collection, Lynley Edmeades turns her attention to ideas of sound, listening and speech. Listening In is full of the verbal play and linguistic experimentation that characterised her first collection, but it also shows the poet pushing the form into new territories. Her poems show, often sardonically, how language can be undermined: linguistic registers are rife with uncertainties, ambiguities and accidental comedy.She shuffles and reshuffles statements and texts, and assumes multiple perspectives with the skill of a ventriloquist. These poems probe political rhetoric and linguistic slippages with a sceptical eye, and highlight the role of listening – or the errors of listening – in everyday communication"--Back cover.
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Enhanced descriptions from Syndetics:

In this original second collection, Lynley Edmeades turns her attention to ideas of sound, listening and speech. Listening In is full of the verbal play and linguistic experimentation that characterised her first collection, but it also shows the poet pushing the form into new territories. Her poems show, often sardonically, how language can be undermined: linguistic registers are rife with uncertainties, ambiguities and accidental comedy. She shuffles and reshuffles statements and texts, and assumes multiple perspectives with the skill of a ventriloquist. These poems probe political rhetoric and linguistic slippages with a sceptical eye, and highlight the role of listening -- or the errors of listening -- in everyday communication.

"In this original second collection, Lynley Edmeades turns her attention to ideas of sound, listening and speech. Listening In is full of the verbal play and linguistic experimentation that characterised her first collection, but it also shows the poet pushing the form into new territories. Her poems show, often sardonically, how language can be undermined: linguistic registers are rife with uncertainties, ambiguities and accidental comedy.She shuffles and reshuffles statements and texts, and assumes multiple perspectives with the skill of a ventriloquist. These poems probe political rhetoric and linguistic slippages with a sceptical eye, and highlight the role of listening – or the errors of listening – in everyday communication"--Back cover.

Table of contents provided by Syndetics

  • Calm and (p. 11)
  • Nodding is Soft (p. 12)
  • Where Would You Like to Sit (p. 13)
  • The Order of Things (p. 14)
  • Blue Planet Sky (p. 15)
  • The Day (p. 16)
  • Things to Do With Verbs (p. 17)
  • Things to Do With Day (p. 18)
  • Island (p. 19)
  • The Way (p. 20)
  • Indonesian Wedding (p. 22)
  • Chicken (p. 23)
  • The Bee Elle (p. 24)
  • Les Voisins (p. 25)
  • L'Ordre des Things (p. 27)
  • The Age of Reason (p. 28)
  • Like a Vase (p. 29)
  • Loveliness Extreme (p. 33)
  • Extreme Loveliness (p. 34)
  • Extremely Love (p. 35)
  • The Order of Things (p. 36)
  • Remainder (p. 37)
  • The Dubious Structural Expressiveness of Arnaut Daniel (p. 41)
  • Say Sibilance (p. 43)
  • Ear Cleaning (p. 46)
  • Thuh Awrder uhv Things (p. 47)
  • Speetch (p. 48)
  • Again America Great Make (p. 50)
  • Ask a Woman (p. 52)
  • From a Place Inside Where a Planet Grows (p. 55)
  • Are You a Proper Noun? (p. 57)
  • Definite Article Abstract Noun Preposition Plural Abstract Noun (p. 60)
  • Comment (p. 61)
  • The Kangaroos (p. 65)
  • Islands of Stone (p. 66)
  • Word (p. 68)
  • ði '&rmcgrevc;rd&rmcgreve;r &rmcgD;v ¿&rmcgmbc;s (p. 69)
  • Border (p. 70)
  • Colonial Lag (p. 71)
  • Teaching (p. 72)
  • Constellations (p. 74)
  • Workshop (p. 75)
  • Triptych
  • 1 Hooks (p. 76)
  • 2 Knickers (p. 77)
  • 3 Camille (p. 78)
  • We've All Got to Be Somewhere (p. 79)
  • Octagonal (p. 80)
  • Thickness (p. 82)
  • Das Order von Dings (p. 83)
  • Half (p. 84)
  • On the Death of her Father (p. 85)
  • Poem (Frank O'Hara Has Collapsed) (p. 86)
  • Some Bodies Make Babies (p. 87)
  • Did (p. 88)
  • In Other Words (p. 90)
  • Hand (p. 91)
  • All the People Are Not You (p. 92)
  • Notes (p. 94)
  • Acknowledgements (p. 96)