So What So That

Thinking through jazz as a form of modernism, this is poetry in kinetic, musical, spatial relationship to the page.

Marjorie Welish uses the page—not as a surface upon which to buoy language, but as a core construction of the poem, in visual and kinetic relationship with text. Here, her spatial acuity is tuned to the rhythms of jazz, and that art form’s relationship to modernism. One of our most challenging and rewarding poets, the pleasure is to simply marvel.

Publication date: December 6, 2016

Format: Trade Paper

Dimensions: 6 x 9

Page count: 144 pages

ISBN: 9781566894562

Thanks to a 2013 ADA Access Improvement Grant administered by VSA Minnesota for the Metropolitan Regional Arts Council, this title is also formatted for screen readers which make text accessible to the blind and visually impaired. To purchase this title for use with a screen reader please email us at info@coffeehousepress.org.

Marjorie Welish is the author of The Annotated “Here” and Selected Poems, Word Group, Isle of the Signatories, and In the Futurity Lounge / Asylum for Indeterminacy, all from Coffee House Press. Her honors include the George A. and Eliza Gardner Howard Fellowship from Brown University, the Judith E. Wilson Visiting Poetry Fellowship at Cambridge University, and two fellowships from the New York Foundation for the Arts. She has held a Senior Fulbright Fellowship, which has taken her to the University of Frankfurt and to the Edinburgh College of Art. She is now Madelon Leventhal Rand Distinguished Lecturer in Literature at Brooklyn College.

“[Welish’s] writing is marked by the legacies of multiple modernisms and by sly misprisions and recursions, an obsession with logical forms that flip abruptly into their shadow selves.”

—BOMB

“Welish’s poetry, like [Thelonious] Monk’s music, is a montage of moving parts in which you’d be wise to expect the unexpected. . . . Welish is sharp about the muddle that is almost everyone’s daily lot.” 

—Hyperallergic

“Here are new paths for the mind; for the voice, possibilities that no one has heard paraphrase. So What So That extemporizes on the question: What is the same?”

—Aaron Kunin

“At once meditative and noisy, a charting of the obstinate continuum of consciousness and a scattergraph of words and phrases assembled. So What So That is a tour of a mind enviably open to everything but ‘negatively’ (in Keats’s sense) skirting conclusion.”

—Brian Kim Stefans

“Welish’s usual practice is ‘not to trust language,’ which makes her work bumpy, real, alive. . . . A poet of ‘the insistent now,’ Welish is sensitive to the chora; let her get wind of a chaoid and she’s off.”

—Lana Turner