Huncke - Mullin, Rick

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Résumé :
Rick Mullin is a journalist and painter whose book-length poem Soutine, on the painter Cha?m Soutine, was published by Dos Madres Press in 2012. His poetry collection Coelacanth was published by Dos Madres in 2013. He is the author of the book-length poem Huncke, published by Seven Towers, Dublin, Ireland, in 2010, and two chapbooks, Aquinas Flinched (Modern Metrics/Exot Books, New York, NY, 2008) and The Stones Jones Canzones (Finishing Line Press, Georgetown, KY, 2012). He works as a business editor at Chemical & Engineering News, the weekly newsmagazine of the American Chemical Society. His paintings are in collections in the U.S., Europe, and the British Virgin Islands....

Biographie:
Rick Mullin is a journalist and painter whose book-length poem Soutine, on the painter Cha?m Soutine, was published by Dos Madres Press in 2012. His poetry collection Coelacanth was published by Dos Madres in 2013. He is the author of the book-length poem Huncke, published by Seven Towers, Dublin, Ireland, in 2010, and two chapbooks, Aquinas Flinched (Modern Metrics/Exot Books, New York, NY, 2008) and The Stones Jones Canzones (Finishing Line Press, Georgetown, KY, 2012). He works as a business editor at Chemical & Engineering News, the weekly newsmagazine of the American Chemical Society. His paintings are in collections in the U.S., Europe, and the British Virgin Islands....

Sommaire:
Originally published in 2008, this second edition of Huncke is a reconsideration. Many of the stanzas have been improved with care taken to keep the original narrative on track. That narrative, which uses Herbert Huncke as a scaffold for a gloss on American social issues, art, and history, has been extended with the discovery of a lost canto. An epic narrative poem where time is a many-layered thing, Huncke is a world-in-a-poem, where its titular hero/anti-hero, inspiration and name-giver to the Beat Poets, and low-life/high-life, infamous, indefinable, freewheeling rebel-without-a-category icon appears in many dimensions: in memory, in history, in the here-and-now, in poetry, in dialogue with angels and ghosts, in holographic animations, in real and fictitious characters of every stripe, all contained within the constraints of a medieval form (ottava rima to the cognoscenti) that creates the sense of a forest or a feast of cantos winding their way, stoned-soul fashion, through haunted catacombs or buzzing red-yellow honeycombs, an underground world that all begins at a poetry reading attended by Mullin himself. This is clearly not the sort of poetry that molders in the stacks / of storage rooms, but the kind that actively creates a world whose ecosystem can't help but stimulate a heightened awareness of the interaction between life, politics, and art...