| Fruitlands Kate Colby |
| Counter Daemons Roberto Harrison |
| Animate, Inanimate Aims Brenda Iijima |
| The Mudra Kerri Sonnenberg |
| Emptied of All Ships Stacy Szymaszek |
| Euclid Shudders Mark Tardi |
| The House Seen from Nowhere Keith Waldrop |
| >> Notebooks 1956-1978 Danielle Collobert |
| Face Before AgainstIsabelle Garron |
| Four from Japan: Contemporary Poetry & Essays by WomenKiriu Minashita, Kyong-Mi Park, Ryoko Sekiguchi, Takako Arai |
| Inner ChinaEva Sjödin |
| Another Kind of Tenderness Xue Di |
Main | Excerpt | Translator Bio | Postface | Reviews
In Danielle Collobert's Notebooks the urgency of her writing is accompanied by the weight of hindsight—that we know how it ends—and yet it is not stifled by morbidity. Instead, the intensity and integrity of her struggles rise to the surface. Collobert's questions—of presence in the world, of politics and intimacy—are constantly recovered from the blur of experience. Collobert moves towards and away in a feverish attempt to connect, stay connected—whether in her personal encounters, moments of activism or writing—and though she ultimately chooses death, there is enough life in her writing to carry on: "the hum of life all around..I open/ and I close."
"beyond everything she had discovered her own utter nakedness: that owned by nights of relentless attention to the other, or reflected in mirrors of all-night cafes where you can look, listen or simply wait, attending the blank page, from which the lassitude of daybreak will rescue you, overwhelm you."
—Uccio Esposito-Torrigiani, from the Postface

