The Pulp vs. The Throne by Carrie Lorig
In her boundless collection The Pulp vs. The Throne, Carrie Lorig collides literary forms and rides their cataclysmic energy through extremes of language. Drawing from a diverse roster of writers and thinkers, she searches for the fundamental frequencies beneath all resonance - the thought, the word, and the poem - and folds them into an immense song that spans time and culture. The eight landscapes of poetry that result are at once critical and political examinations of self, human community, violence, despair, oblivion, and love.
The generous, complex, wildly attentive writing in The Pulp vs. The Throne forms a crisis of intimacy that joins our lives with the lives of the subjects Lorig creates and engages, and with her own exploding, essential imagination.
Carrie Lorig is the author of The Pulp vs. The Throne, which is her first full-length work. Her chapbooks include nods. (Magic Helicopter, 2013), stonepoems (with Sara Woods, Solar Luxuriance, 2014) & rootpoems (with Sara Woods, Radioactive Moat, 2013), and Labor Day (with Nick Sturm, Forklift Ohio, 2014). She grew up / surrounded by / the upper Midwest. After getting her MFA from the University of Minnesota, she moved to the Deep South to teach / work. She is currently at Emory University.
Publication Date: 11 August 2015
"The Pulp vs. The Throne is a tattered wilderness archive that ends by bringing us out of the written record, singing into un-lettered light, so that we may once again re-enter the world without losing the word . . . [This] book breathes fire."
— John Rufo, Entropy
"When I read this work of expansive inquiry, which repurposes lyric, vatic, diaristic and essayistic writing, I feel we might be entering a Golden Age of feminist prophecy and (inverted) power: a marginal, shredded, spangly and dispersed Byzantium where wisdom has a woman’s name. Like the work of Kim Hyesoon, Lorig’s poetry is at once immediate and speculative, infernal and angelic (in the terrible sense of that word)—a poisoned flower burning alive."
— Joyelle McSweeney, author of Salamandrine and Percussion Grenade
"To "flagellate." Or "cliff-thrive." Book as "body cavity." Book as "carved in waste." A terrible brightness when you open it: "RAINLIGHT." The "explicit texture" of invocation, of who: what: all this writing is for. It felt very much as if this person, Carrie Lorig, wrote The Pulp Vs. The Throne in a state of almost unbearable longing, pre-ecstatic on every page. This, for example, is one my favorite lines: "I wanted you to draw frames of me naked in golden and bleak forest / in bale draped over mint cliffs." Where are the mint cliffs? I want to go there immediately! Lorig's language is gestural in the sense that it makes you take a posture, reading it — or tilt, physically, to imagine or make real the inversion she proposes or sings. My mirror neurons fired, reading the accumulation of "I wanted." Or the misheard line from a Jai Paul song: "THAT SHIT WAS THE LOVE OF MY LIFE." Lorig has written something truly messy and great, in which "sour lightning" might rip a person apart. Or the author and her partner might replicate [perform] a photograph of Anne Waldman and Ted Berrigan in Maine that at first glance looks as if Berrigan is going to cut off Waldman's, thus Lorig's, long hair. It is very pleasurable to read something that risks: something: in almost every line. And contrapuntal image. I am honored to write in support of this writing, which seems to pour with violence from the soul."
— Bhanu Kapil, author of Ban en Banlieue and Schizophrene
"This book very quickly, very easily, very lovingly enters the pantheon of books that not only justify my own evolving mind in the realm of poetry; they make me loath to say anything except that I am simultaneously astonished and at home. A revelation, physically speaking."
— Brandon Shimoda, author of Portuguese and The Girl Without Arms
"Dear Sea-Reader, In the silver-lined pages of another book / a larger-than-life goddess is lying on her back / looking up / lifting belly / receiving/absorbing/devouring/transforming in a perpetual act of radical generosity. It is the vast vulnerability and simultaneous terror / the irreducibility / of this position / fraying like a wind horse / that has us thinking of the red edges / the read edge / becoming and unbecoming / of The Pulp Vs. The Throne / its turquoise fathoms. Being stone / being supine by which a body flies by night / a sky-trolley/ a book opening to book & You / by which She of Immensity / guards the crow’s nest lined with the silver hair of your dreams / collects the glittering shards / gives them away / etching / the edge / altering tradition via altar traditions. There the weeping tide receives us / violent animal of intimacy / seeing horse dog beneath / the beneath."
— Elisabeth Workman, author of ULTRAMEGAPRAIRIELAND, & Bridget Mendel, poet and beekeeper
"What i like about this book C is, it makes / me live."
— Jared Harvey, author of Hosni Mubarak and Frank Quitely