“…like a contemporary Tsvetaeva through a landscape of the uncertain and surreal…”

“Splendid, grotesque, violent, but always loving, Lina ramona writes like a contemporary Marina Tsvetaeva through a landscape of the uncertain and surreal; the language is made from the nervousness and energy of every bee in the hive. Part ‘rotten aorta’ and part ‘snapdragon wine’, the poems in HONEY IS A SHE form a buzzing network…… Continue reading “…like a contemporary Tsvetaeva through a landscape of the uncertain and surreal…”

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“…she combines Handmaid’s Tale & mad science with the meaningful meaningless dialogue of politics & propaganda…”

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Daniel Borzutzky, 2016 National Book Award Winner (Poetry): “It is strange to occupy the world of Lina ramona Vitkauskas’ poems, a world where beef takes nebulous forms, Jacques Derrida and Batman speculatively coincide, where cumin forms into fists, where W.H. Auden sets things on fire, while Sartre cowboys ride into a present tense that combines…… Continue reading “…she combines Handmaid’s Tale & mad science with the meaningful meaningless dialogue of politics & propaganda…”

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“…a Cyrillic voyeur penning captions for a movie that knows its own democracy…”

“Lina ramona’s chapbook, Shooting Dead Films with Poets, is an improbable treasure. These fourteen poems call out to Cocteau and draw from the gamut spanning Georgic bees and a Chicago found to be antipodal to the Volga. Subtitles twine immaculately. They invoke a Cyrillic voyeur penning captions for a movie that knows its own democracy.…… Continue reading “…a Cyrillic voyeur penning captions for a movie that knows its own democracy…”

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“…a Pynchon-esque bend…images of films translated into other tongues…languages we don’t speak or might not exist….”

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“It’s a book of codes and lost histories, grainy film stock and the harder-to-catch frequencies, and there’s a Pynchon-esque bend to the work overall, a sense that the images of these films are being translated into other tongues, maybe even languages we don’t speak ourselves, languages that might not exist. There’s a gap between the…… Continue reading “…a Pynchon-esque bend…images of films translated into other tongues…languages we don’t speak or might not exist….”

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“…poems saturated with chemicals, textures, atmosphere, and media…”

“The ‘trysts’ of Lina Ramona Vitkauskas’ chapbook, A Neon Tryst, are shot through with ‘neon’—that is, they are saturated with chemicals, textures, atmosphere, and media. According to this synthetic cosmology, ‘In an affair/arms laugh,/they become sheer.’ That is to say, they—arms, bodies, weapons, trysts—become both medium and adjective, both see-through and material. As in Antonioni’s great films, the…… Continue reading “…poems saturated with chemicals, textures, atmosphere, and media…”

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“…a feminist enterprise in its daring, toppling film’s male gaze…”

“If film is linear, the ultimate time-based medium, during which we are supposed to listen and watch attentively, passively, Lina’s poems in A Neon Tryst talk back. These poems create simultaneity, layers, and distillations toward new narrative logics like ‘Let’s laugh until panties.’ Vitkauskas is watching for the poem in the film, writing her own…… Continue reading “…a feminist enterprise in its daring, toppling film’s male gaze…”

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