Escape Velocity
PRELUDE
The Guitarist
Jumping Over Your Shadow Slash Landscape With Squeege
Growing
I. EVIDENCE
Escape Velocity
Welfare Reform
Ugly Beauty
Newsworthy
Due Process
Mosaic Wipe
Just Asking
State of Affairs of State
Diplomatic Relations
Broken Country Scramble
Independence Day: Plaza de Armas, Cusco
Revolutionary Politics
Rated X
Leh Over in Kashmir: Alchemy of Travel
Freedom Of / Freedom To
Hush-Harbor (The Old South)
Battle Hymn of the Republic, 1860–2004
Pirates
Spiel
Edge City
Transformations
Today’s Plane Crash
Waffles
Failures
II .WELL, YOU NEEDN’T
Capsized
Her, For Instance
The Jug Shop
Waiting For the Light: 10:48 Saturday Night
Angel Food
Alcatraz
Way Back in the Vanguard
Void Where Prohibited
Love Letters
Decisions
Sorry I Misunderstood You
The Grandmother Poem
Skylark
Guilty
Woman Trapped By Screaming Children
X Packs a Day
San Francisco To San Diego
Invitation to Move West
An Atmosphere of Isabel
My Prosthetic Everest
Belief Systems
Counting
Swimming Lesson
Work
Man, in the Middle of the Ocean, With Piano
For Daisy, On Her 13th Birthday
Proclivity
III. RHYTHM-A-NING
Literary Fiction
Millennial Curve: A Torqued Ellipse or Three
Industrial Facades
Days
Blank
S, M, L, XL
The Architecture of Implosion
My Favorite Things
Rusty Cage
Package / Packaging
If Books Were Like Paintings
Relevancy
Double Blind
CODA
Confluence Camp
Seeing and Believing
Verbatim: My Airport Taxi Driver, While Waiting For a Tow Truck, Takes a Stand on the Republicans
> HYPE
“The first thing you notice about David Breskin is that he’s got chops up the wazoo and is fabulously intelligent. It may take longer to start seeing through his fierce and faceted eye or to notice how many of our lived-in worlds it sees in all their dazzle of simultaneity and fact. This is poetry in which the intimate and public worlds do not exclude each other but mutually refract their signs and lights, and where even the self on which the world imposes its unrelenting politics can earn, with ingenuity and effort, its meed of radiance.”
—Rafi Zabor, author of
The Bear Comes Home,
PEN/Faulkner Award Winner
“In David Breskin’s Escape Velocity, ferocity and speed don’t preclude clarity of critique, and the tectonic instabilities of metaphor’s capacity for disruption is married to a clarity of focus, producing a vivid, Baroque pageantry that defies chronology in favor of synchronicity, that gives us panoramas of wrecks. Rare to find poetry that is so confrontational, so avid to go to the hot spots, to risk being brutal in the service of truth while preserving such formal elegance. Unflinching, these poems roar like Cassandra with disastrous moment: it’s a transfixing sound.”
—Dean Young, author of Skid
“David Breskin’s Escape Velocity is torqued with rage at the world as he finds it, ‘a micro avalanche of each soul’s presence.’ With formal precison and clarity, he elucidates the sorrows of our times, an unflinching and brave indictment of the spoils of life’s wars, both personal and political. Underneath the polemics is a poet’s love: ‘your future / your child, this infancy of your desire.’”
—Ann Lauterbach, MacArthur Fellow and
author of If in Time: Selected Poems 1975–2000
> FRONT MATTER
Escape Velocity
© 2004 by David Breskin
Published by Soft Skull Press | www.softskull.com
Distributed by Publishers Group West | www.pgw.com | 800.788.3123
Printed in Canada
Front cover image: “A Southern Chain Gang,” 1903, photographer unknown,
Detroit Publishing Company Archives, Library of Congress #LC-D401-16155
Back cover image (detail): “Waiting for the Sunday Boat,” 1902, William Henry
Jackson, Detroit Publishing Company Archives, Library of Congress #LC-D4-9116
Book Design: David Janik
Library of Congress Cataloging-in-Publication Data
Breskin, David.
Escape velocity / by David Breskin.
p. cm.
ISBN 1-932360-45-X (trade cloth : alk. paper) — ISBN 1-932360-44-1 (trade pbk. : alk. paper)
I. Title.
PS3552.R3878E83 2004
811’.54–dc22
2004013825
> ACKNOWLEDGEMENTS
My thanks are given to the following publications, where these poems previously appeared, some in slightly different form:
ACM: “Newsworthy,” “Hush-Harbor (The Old South)”
American Letters & Commentary: “Relevancy”
Bathos Review: “Ugly Beauty”
Boulevard: “Counting”
Columbia Poetry Review: “S, M, L, XL,” “Diplomatic Relations”
CrossConnect: “My Prosthetic Everest”
Denver Quarterly: “Her, For Instance,” “Revolutionary Politics”
Fourteen Hills: “Proclivity,” “Invitation to Move West,” “Rated X”
Harvard Review: “The Jug Shop”
The Minnesota Review: “Work,” “Package / Packaging”
New American Writing: “State of Affairs of State,” “The Architecture of Implosion,” “Jumping Over Your Shadow Slash Landscape With Squeegee”
The Paris Review: “Broken Country Scramble”
Parnassus: Poetry in Review: “Capsized”
Poetry Flash: “Edge City,” “Man, in the Middle of the Ocean, With Piano”
Press: “Pirates”
Quarterly West: “Failures,” “Growing,” “An Atmosphere of Isabel,” “Belief Systems”
Southwest Review: “Double Blind”
Spelunker Flophouse: “Way Back in the Vanguard”
TriQuarterly: “Escape Velocity,” “Literary Fiction,” “Welfare Reform,” “The Guitarist”
Thirty-four bars of praise for those whose buzzing feedback made these songs better: James McManus, W.S. Di Piero, Max Levchin, Isabel Breskin, Richard Eoin Nash, Nigel Poor.