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It lives halfway between being and becoming, guj of conversational breath, reflective of the mind that created it, bilingual and annoyed, bored and shocked at its own boredom. It asks pointed questions of itself, which this review will attempt to dig into: which is the audience? Poetry and identity politics seem to live together easily, especially in contemporary work. Buy poems of Fainting, however, resist this easiness, complicating any readerly attempt to grasp a stable poetic self. And so Yu in his opening poem attempts to bring two different conceptions of the self together.

It asks pointed questions of itself, which lolking review will attempt to dig into: which is the audience? The hostility to the reader is reflective of a history of hostilities between races and cultures, played out here in the realm of language.

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Yet even as these global citizens vie for love, this remains a Chinese show: participants speak Mandarin, the audience is Chinese. It lives halfway between being and becoming, full of conversational breath, reflective of the mind that created it, bilingual and annoyed, bored and shocked at its own boredom. Perhaps we need to be more specific when talking about self and culture. The avant-garde or experimental need not be turn-of-the-century Anglo-European modernism or deracinated contemporary post-anything.

The poems of Fainting, however, resist this easiness, complicating any readerly attempt to grasp a stable poetic self. The pieces in Fainting delight in such difficulty — huy, awkward syntax and tense, incomplete sentences, seemingly unnecessary repetitions, painfully absent punctuation, indecorous line breaks.

The avant-garde or experimental need not be turn-of-the-century Anglo-European modernism or deracinated contemporary post-anything.

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Instead of sounding awkward, these phrases become, in context, invested with linguistic allure. As in some kinds of contemporary assemblage, trash is turned into art; the banal becomes another creative refuge. The pieces in Fainting delight in such difficulty — specifically, awkward syntax and tense, incomplete sentences, seemingly unnecessary repetitions, painfully absent punctuation, indecorous line breaks. Poetry and identity politics seem to live together easily, especially in contemporary work.

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And so Yu in his opening poem attempts to bring two different conceptions of the self together. The hostility to the reader is reflective of a history of hostilities between races and cultures, played out here in the realm of language.

And so Yu in his opening poem attempts to bring two different conceptions of the self together. The postmodern, although seemingly a culturally neutral phenomenon, can and does have specific strands, each with their own distinct concerns.

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Here are poems-in-process which question the self-in-process. This collision of selfhoods in linguistic complexity. Yet even as these global citizens vie for love, this remains a Chinese show: participants speak Mandarin, the audience is Chinese. As in some kinds of contemporary assemblage, trash is turned into art; the banal becomes another creative lookinf. The effect is the opposite of boring.

Poetry and identity politics seem to live together easily, especially in contemporary work. Perhaps we need to be more specific loonely talking about self and culture.

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The postmodern, although seemingly a culturally neutral phenomenon, can and does have specific strands, each with their own distinct concerns. It is also suspicious of selfhood, which opens the poems up to gug kinds of experiment and playfulness. And so Yu in his opening poem attempts to bring two different conceptions of the self together. The effect is the opposite of boring.

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The hostility to the reader is reflective of a history of hostilities between races and cultures, played out here in the realm of language. Instead of sounding awkward, these phrases become, in context, invested with linguistic allure. The pieces in Fainting delight in such difficulty — specifically, awkward syntax and tense, incomplete sentences, seemingly unnecessary repetitions, painfully absent punctuation, indecorous line breaks.

It is also suspicious of selfhood, which opens the poems up to all kinds of experiment and playfulness. Here are poems-in-process which question the self-in-process. This kind of self-expression is suspicious of lyricism and sentimentality. It lives halfway between being and becoming, full of conversational breath, reflective of the mind that created it, bilingual and annoyed, bored and shocked at its own boredom.

It lives halfway between being and becoming, full of conversational breath, reflective of the mind that created it, bilingual and annoyed, bored and shocked at its own boredom.

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As in some kinds of contemporary assemblage, trash is turned into art; the banal becomes another creative refuge. The poems of Fainting, however, resist this easiness, complicating any readerly attempt to grasp a stable poetic self. The poems of Fainting, however, resist this easiness, complicating any readerly attempt to grasp a stable poetic self.

Perhaps we need to be more specific when talking about self and culture. Poetry and identity politics seem to live together easily, especially in contemporary work. The lookiing, although seemingly a culturally neutral phenomenon, can and does have specific strands, each with their own distinct concerns. Through poetry, they seem to suggest, the space in between cultures can be a fascinating place to be. Instead of sounding awkward, these phrases become, lookign context, invested with linguistic allure.

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It asks pointed questions of itself, which this review will attempt to dig into: which is the audience? The avant-garde or experimental need not be turn-of-the-century Anglo-European modernism or deracinated contemporary post-anything.

It asks pointed questions of itself, which this review will attempt to dig into: which is the audience?

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