Nod House

With Nathaniel Mackey s fifth collection of poems, Nod House, we witness a confluence of music and meaning unprecedented in American poetry. Mackey s art continues to push the envelope of what is possible to map and remap through words in sounds and sounds in words. Picking up with Nub s disintegrat [...]
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With Nathaniel Mackey s fifth collection of poems, Nod House, we witness a confluence of music and meaning unprecedented in American poetry. Mackey s art continues to push the envelope of what is possible to map and remap through words in sounds and sounds in words. Picking up with Nub s disintegration at the end of his previous collection the National Book Award winning Splay Anthem we follow a traveler and a tribe of travelers ensconced in myth and history as Mackey continues to weave his precisely measured music with two ongoing serial poems, Song of the Andoumboulou and Mu. The collec- tion is divided into two sections, both titled Quag, and it is this double-Quag ( Nub s new colony Quag or Qraq or Ouab da or Quaph . . .) that the tribe is exiled in, worlds within alternate worlds where names and places are ever-shifting, and dreamlessness reigns. From the pyramids to the projects, Ivory Coast to Lone Coast, Lagos to Stick City, amidst chorusing horns and star-spar lightning, Nod House ( Nub s / new / address ) unfolds as gorgeous eulogy, copla-cuts of deep song, the long elegiac march of day after day of the dead.