Marine Layer by Kit Robinson

There is seemingly no object, image, or idea that couldn’t potentially work its way into a Kit Robinson poem. His work is oracular and quotidian, straightforward and complex, offering multiple points of view and stunningly variable textures.

Richard Roundy, Across the Margin

Kit Robinson convects his frontal systems through Marine Layer, happy to be enveloped in its fog while somehow always letting its poems breathe. Information sizzles in these data dispatches from the twenty-first century: poetry as a news feed that knows just enough to trust what happens next, lifting the fog—for us all—on the movable things of song.

Miles Champion

As Kit Robinson’s Marine Layer lifts, we can see how far the work of this major American poet has come. Between tragicomic alignments of social discourse, Robinson’s new poetry discovers lyrical and philosophical glimmerings where “traces of light adhere to the shattered vessels.” Practicing an art of deadpan profundity, Robinson recasts realism as a scene of echoes, of sudden recognitions of language’s own cognitions. In so many sharp, canny, sharky, shaky moves, Kit Robinson shows that “simple situations are never that simple.”

Andrew Joron

Kit Robinson is the author of Determination (Cuneiform, 2010), The Messianic Trees: Selected Poems, 1976—2003 (Adventures in Poetry, 2009), and 20 other books of poetry. His collaboration with Ted Greenwald, A Mammal of Style (Roof, 2013), was named among “the best poetry of 2014” by the Chicago Tribune. He is a co-author of The Grand Piano: An Experiment in Collective Autobiography, San Francisco, 1975—1980 (Mode A, 2006—10). Robinson lives in Berkeley, works as a marketing consultant for cloud startups and plays tres guitar in the Afro-Cuban sexteto Calle Ocho.

Book Information:

· Paperback: 134 pages
· Binding: Perfect-Bound
· Publisher: BlazeVOX [books]
· ISBN: 978-1-60964-229-7

$16

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