“Shapero writes in an urgent vernacular that flirts, stings, implores and demands with apparent abandon.” Houston Chronicle
“Shapero’s poetics has real-world import for the way we use language to talk about messy things.” Volta
Thought-provoking and sardonically expressive, Shapero is a self-proclaimed “hard child”unafraid of directly addressing bleakness as she continually asks what it means to be human and to bring new life into the world. Hard Child is musical and argumentative, deadly serious yet tinged with self-parody, evoking the spirit of Plath while remaining entirely its own.
From Hot Streak
Actually it’s ridiculous to opine on what kind
• f a dog I would be, were I ever a dog, as I don’t
contain within me half enough life to power
a dog. I WOULD BE A DEAD DOG, THAT’S
WHAT KIND, or
maybe a mere industrial object
boasting a low-grade animation, some odd beep
• r flicker, like a dryer or a bulb. So, sure, I could
be a reluctant bulb, the only one still offering light
in an otherwise burnt-out fixture bolted
hard to a row house porch. And all those moths,
with no other place to die. Can’t they murder
themselves on someone else?...
Natalie Shapero has worked as a civil rights lawyer and is currently Professor of the Practice of Poetry at Tufts University. Her first poetry collection No Object was published in 2013, and her writing has appeared in The Believer, The New Republic, Poetry , and The Progressive. She lives in Massachusetts.
|Publisher:||Copper Canyon Press|
|Product dimensions:||5.80(w) x 8.80(h) x 0.40(d)|
About the Author
Natalie Shapero: Natalie Shapero has worked as a civil rights lawyer and is currently Professor of the Practice of Poetry at Tufts University and an Editor at Large of the Kenyon Review. Her first poetry collection No Object was published by Saturnalia in 2013, and her writing has appeared in The Believer, The New Republic, Poetry, and The Progressive. She lives in Massachusetts.
Table of Contents
The Awl: "Studio"
The Country Dog Review: "Open Road"
Diode: "Was This the Face"
February: "Can't Go Anywhere"
Ghost Proposal: "Former Dancer," "Hot Streak"
Gulf Coast: "Hard Child"
The Hopkins Review: "Person's Ocean," "Screens and Storms"
The Journal: "Winter Injury"
Jubilat: "On Magic," "The Sky"
Kettle Blue Review: "Ten What," "What Will She Go As?"
The Literary Review: "Beauty School," "Monster"
Mantis: "Low Blow" Matter: "Direct Address"
Montreal International Poetry Prize Online: "My Hand and Cold"
The Nation: "Outside Less"
New Republic; "You'd Better Run"
The New Yorker: "Survive Me"
Phantom: "The Mind of Popular Pictures," "Were You Lying Then or Are You Lying Now"
Pinwheel: "Mostly Rasputin," "The Obligatory Making of Amends," "Passing and Violence," "Red"
Ploughshares: "Teacup This"
Poetry: "Not Horses," "You Look Like I Feel"
The Progressive: "Radio Science"
Subtropics: "Absence, That Which Never," "Passion in Public"
Typo: "For Later," "Home Scale," "I Am Not Built for Dead," "Mostly I Don't Want to Have a Son-," "No Radio"
Whiskey Island: "Bath or Escape," "Low Light," "Reformation Window"