Eric Baus stopped by City Lights to talk about his new poetry book, The Tranquilized Tongue
We celebrated the release of The Tranquilized Tongue, the latest in the City Lights Spotlight Poetry series! The Tranquilized Tongue is the 11th installment in the City Lights Spotlight Series, which brings attention to established and up-and-coming innovative American poets.
In the tradition of French poets like Francis Ponge, Pierre Reverdy, and René Char, The Tranquilized Tongue offers a series of prose meditations in the form of surrealist declaratives, each sentence unfolding like an alchemical riddle in which sounds, images, and figures appear, dissolve, and re-emerge to offer a glimpse of a complex unconscious roiling below the surface of everyday reality. Sometimes a paragraph, sometimes a sentence, occasionally just a fragment, each poem in The Tranquilized Tongue is a portal to new perspective on the everyday materials of reality as constituted through language itself. The postmodern classicism of language poetry meets the modernist romanticism of surrealism to startling effect in Baus’s cabinet of curiosities. The eleventh volume of the City Lights Spotlight Poetry Series, The Tranquilized Tongue places Baus alongside such contemporary purveyors of the marvelous and speculative as Andrew Joron and Will Alexander.
Praise for The Tranquilized Tongue:
“The poems comprising The Tranquilized Tongue propose a unique blend of Persian miniature and habanero pepper. The book is aburst with unremitting predication, each poem a merciless thought machine.”—Nathaniel Mackey
“For over a decade now, Eric Baus has been one of the leading practitioners of a new kind of poem, one that draws as equally on the legacy of surrealism, the nouveau roman, and even the language poets, as it does on the Deep Listening practice of Pauline Oliveros, Alvin Lucier’s forays into resonant sound, the films of Charles and Ray Eames, and the voiceover of Sir David Attenborough narrating our insect and animal worlds. The Tranquilized Tongue speaks to us in a music capable of condensing geologic time into that of a microtonal interval: weird, warped, a little wobbly on its newly-hatched legs, this is a book where the word The will follow you like a gosling.”—Noah Eli Gordon
“Special objects in our multiple world–from eggs to kings, from bees to caskets, from wings to statues–spawn themselves with other teeming objects in a fertile generation of aphoristic actions calmed by the clarity of prose poems framed as linked short stories. The scintillating tensions between febrile nouns, adjectival properties, and active claims all in their phonemic bliss create an elegant surrealism charged with the primary mystery of Baus’s lexicon.”—Rachel Blau DuPlessis, author of Drafts