Monetized, by Alissa Quart
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Monetized, by Alissa Quart
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Poetry. Alissa Quart's first book of poetry sifts brilliantly through our landscape of damaged Americana. From spam ads to tech speak, from self-help to real estate to the lingo of gossip or "mom" sites, these poems insistently limn a country where nearly everything has taken on the character of money. Quart, the acclaimed author of Branded and two other books of reported cultural criticism, cuts into our clamorous culture, summoning its strangeness and humor. MONETIZED also reflects upon a shared longing for the analogue era,as well as our longing for a less commercialized past. This book is a remarkable account of a state of yearning for the passing moment in a period of rapid acceleration, a feeling Quart calls "right-now-nostalgia." "Ninety- nine cent stores, Slimfast, Amtrak, 'Twitter Dead Souls,' James Caan films and Matt Dillon posters: Alissa Quart's poems form a brilliant "check list of American self- destruction," exploring the absence and dreams of escape that mark the modern landscape."—Barbara Ehrenreich "Alissa Quart's smart and sexy poems perform invasion and insurgency with utmost aplomb and analytical edge. I love her intensity, her compact lines, her clever harvesting of commerce's schizoid hysteria, as if media-speak's carnival (Times Square, the Internet) were reorchestrated, with tidy wit and formalist ingenuity, by a Bauhaus purist."—Wayne Koestenbaum "The poems in Alissa Quart's MONETIZED are not only smart but ambitious as hell. Sharp, biting, and aphoristic, Quart's exact and exacting lines are extraordinary shots in and at our commodified American landscape. ('Let's hope we're perennial.') With their constant awareness of the dissonance found in this post-millennial tweet-filled, Facebook-ed, facsimile age of late capitalism, these poems convey a powerful sense of lost and found awareness: 'We could forgive ourselves / if only we knew our own story.'"—Susan Howe "It's pretty unusual, it's almost unheard of, for poems to feature both the subtlest and most intricate word play and a pure, fierce, tell-it-like-it-is voice, as these poems do. They are stealthily virtuosic."—Louis Menand
Monetized, by Alissa Quart- Amazon Sales Rank: #1366575 in Books
- Brand: Quart, Alissa
- Published on: 2015-03-15
- Released on: 2015-03-15
- Original language: English
- Number of items: 1
- Dimensions: .50" h x 5.40" w x 7.90" l, .0 pounds
- Binding: Paperback
- 112 pages
Review "Dense, playful, aphoristic poems" - Joshua Rothman, The New Yorker "Quart's laser-sharp phrases and haunting epiphanies have a way of sticking around in your head long after you turn the final page." - Lynn Parramore, Alternet"Ninety-nine cent stores, Slimfast, Amtrak, 'Twitter Dead Souls,' James Caan films and Matt Dillon posters: Alissa Quart's poems form a brilliant "check list of American self-destruction," exploring the absence and dreams of escape that mark the modern landscape." --Barbara EhrenreichAlissa Quart's smart and sexy poems perform invasion and insurgency with utmost aplomb and analytical edge. I love her intensity, her compact lines, her clever harvesting of commerce's schizoid hysteria, as if media-speak's carnival (Times Square, the Internet) were reorchestrated, with tidy wit and formalist ingenuity, by a Bauhaus purist." --Wayne Koestenbaum"The poems in Alissa Quart's Monetized are not only smart but ambitious as hell. Sharp, biting, and aphoristic, Quart's exact and exacting lines are extraordinary shots in and at our commodified American landscape. ('Let's hope we're perennial.') With their constant awareness of the dissonance found in this post-millennial tweet-filled, Facebook-ed, facsimile age of late capitalism, these poems convey a powerful sense of lost and found awareness: 'We could forgive ourselves / if only we knew our own story.'" Susan HoweIt's pretty unusual, it's almost unheard of, for poems to feature both the subtlest and most intricate word play and a pure, fierce, tell-it-like-it-is voice, as these poems do. They are stealthily virtuosic." --Louis Menand
About the Author
Alissa Quart's poetry has appeared in the London Review of Books, The Awl, Fence, Open City, Feminist Studies, and many other publications, as well as in her poetry chapbook Solarized. She is the author of three non- fiction books: Branded (Basic Books, 2003), Hothouse Kids (Penguin Press, 2006), and Republic of Outsiders: The Power of Amateurs, Dreamers and Rebels (The New Press, 2013). Her nonfiction titles have been translated into 14 languages. She has written features for The New York Times Magazine, Elle, The Atlantic, The Nation, and many other magazines and has contributed frequent reported opinion pieces to The New York Times and elsewhere. With Barbara Ehrenreich, she is editor of the Economic Hardship Reporting Project, a non-profit that supports journalism about inequality. She wrote and produced the Emmy-nominated multimedia project "The Last Clinic" for The Atavist. She has taught at Columbia University's Graduate School of Journalism among other universities and was a 2010 Nieman Fellow at Harvard University.
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4 of 4 people found the following review helpful. The way the sections of Alisa Quart's extraordinarily compelling collection ... By MikeL The way the sections of Alisa Quart's extraordinarily compelling collection of poems work, or work upon a reader, is insidious and addictive. Some of the poems in the first section ( "Magnetic Resonance," "Holiday," "Qualia") seem an examination of conscience to me, for me. The second section is claustrophobic exactly, one is unable to get out of being one/self, the language is mesmerizing and hermetic at once (I only realize after almost coming to the end of writing this review that there is tellingly a poem called "Mesmerism" here). The poems in this section take away the oxygen, there is no escaping, not even (not especially) to "Maine: 'The way life should be'" which in her poem "The Age of Anxiety Redux" finally deliquesces to "spermatozoa of meme...looking to find their correction."At first part three seems to take a breath, to provide breathing room, the poem "Instrumental" offering a recognizable scape, but not escaping the language that takes away one's breath, "Too many words,/not enough years" compounding. No one I've read has captured the captivating, catatonic banality of the language we've learned to live with and through on and through the screens before us in all its omnipresent allure and banality. A reader cashes in his examination of conscience in "Leaving Out"'s seeping hyperlink, recognize himself in the procession of sinners ("Womanized," "Self Sell," "Out of Pocket") as "an ad/ man picking apples on that hill,/ marrying the image to the real," and "The memory of culture/ ...yet another culture."
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