MURDER DEATH RESURRECTION: A Poetry Generator
Publisher’s Book Page
Release Date: Spring 2018
Distributors: Small Press Distribution, Amazon, East Wind Books (Berkeley), Among Others
MURDER DEATH RESURRECTION is the definitive monograph for Eileen R. Tabios’ five-year performance poetry project of similar name: “Murder, Death and Resurrection.”
When the Filipino indigenous trait of kapwa (togetherness) syncs with the computer, the result is a paradox summed up as manual artificial intelligence (MAI, not AI). Such results in Eileen R. Tabios’ project “MURDER DEATH RESURRECTION” because—though not only because—the author posits, No one or nothing is a stranger to me. Thus, she created a Poetry Generator as described in a performance/interactive poetry book of the same name, MURDER DEATH RESURRECTION (MDR). MDR presents a space for readers to create their own poems, a unique challenge for “deep reading” poems, and the latest innovative poetry project by a poet known for radical and yet, in the words of Kevin Killian, “difficult-made-easy experimentation.” For educators, the book also comes with suggested Study Questions and a Workshop Suggestion, making it useful for workshops, creative writing and poetics courses, and/or how-to-write-poetry exercises.
RESPONSES & REVIEWS
“SPD Recommends,” March 2018, Small Press Distribution
“This is a glorious book in all respects. Its brilliance pops at every turn. The object itself is a fine event, and I am loving the read as major savoring. The excitement of this book raises the bar very high for what poetry can do and be!”
“MURDER DEATH RESURRECTION: A Form of Babaylan Poetics” by Leny M. Strobel, MEDIUM, Jan. 13, 2018
After nine years of reviewing her poetry, I see the MDR work as a Culmination rather than a divergence or some (mere) experiment in recycled language. Comparisons can be made to the “cut-up” work of William Burroughs or even Philip K. Dick’s use of the I Ching to generate storylines and character choices, but they will ultimately fall short. Very much in line with Tabios’s previous work on the Filipino Diaspora, the MDR is an expression of taking back language through breaking it down. Briefly, this is a response to colonialism and American imperialism. Fittingly enough to mention here, I am preparing to do a Chautauqua tour as Ernesto “Che” Guevara in mid-2019, so I am living daily with the reality of what American colonialism and imperialism have done to the Philippines and Latin and Central America. Politics hinges on language (Rhetorical Studies is obsessed with this). Slang, jargon, and such art forms as Rap are expressions of this as well. An interesting aspect of this is the notion of “Babaylan” poetics, which (quite shamanically) states that everything is connected and in harmony, no matter how different it may seem…. Murder, Death, Resurrection is the latest reason why Eileen Tabios is one of the most important poets working today.
–Review by Joey Madia for New Mystics Reviews and Literary Aficionado (Review HERE)
Eileen R. Tabios is one of the more adventuresome and truly creative poets before the public today. She is absolutely able to write poems in the usual styles and make her works resonate with every reader. But she always is searching for ways to push the use of words into formats or situation that challenge the brain as well as heart. She makes us think: she makes us work. And she is able in this book to entertain.
–Review by Grady Harp at GoodReads and Amazon.com (Review HERE)
If someone could wave a magic wand and give you the ability to write poems endlessly would you accept the offer? // Nationally known poet Eileen R. Tabios has created the nearest thing to the magic wand, in her book Murder Death Resurrection.
–Review by Zvi A. Sesling for Boston Area Small Press and Poetry Scene, April 5, 2018
“FAVORITE COLORS,” a response poem by Mike Gullickson.
The Hay(na)ku and the MURDER DEATH RESURRECTION Projects Visit Sonoma State University, 2018
“Community of Vowels,” a visual poetry series generated by the MDR Poetry Generator at Otoliths, May 1, 2018
ABOUT the front cover image painting, “Avocado” by Pacita Abad.
ABOUT proofing the manuscript in preparation for publication.