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Formally distinct, the two chapbooks composing the tête-bêche Landguage/Mirror Me share the trappings of gendered and classed experiences where freedom isn't free. Located and then dislocated from place, grounded in Americanisms and warping them, self- and socially- conscious, Landguage/Mirror Me voices the silences of women in exile. As playful as they are vexed, the poems in Landguage/Mirror Me estrange and beckon with their rhythms and mouthfeel.
Formally distinct, the two chapbooks composing the tête-bêche Landguage/Mirror Me share the trappings of gendered and classed experiences where freedom isn't free. Located and then dislocated from place, grounded in Americanisms and warping them, self- and socially- conscious, Landguage/Mirror Me voices the silences of women in exile. As playful as they are vexed, the poems in Landguage/Mirror Me estrange and beckon with their rhythms and mouthfeel.
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Autorenporträt
Born in Soviet Moldova, Marina Blitshteyn and her family came to the US as refugees in 1991. She studied English at SUNY Buffalo and creative writing at Columbia University. Her third poetry collection, 'form a more perfect,' won the Tenth Gate Prize from Word Works Books and will be published in 2025. She is also the author of 'Two Hunters' (Argos Books, 2019), and 'i take your voice' (Switchback Books, 2022), winner of The Gatewood Prize. Prior chapbooks include 'Russian for Lovers' (Argos Books), 'Nothing Personal' (Bone Bouquet Books), '$kill$' (dancing girl press), and 'Sheet Music' (Sunnyoutside Press).
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