Table of Contents

CONTENTS

The Illuminated Egg 5
The Profane Octave 6
The Abandoned Sail 7
The Moss Vulture 8
The Injured Window 9
The Poisoned Voice 10
The Scarlet Phoneme 11
The Recessive Sea 12
The Egg's Alias 13
The Cadaver Moth 14
The Feral Film 15
The Dismantled Diorama 16
The King's Silhouette 17
The Séance's Ellipses 18
The Acoustic Plumage 19
The Molting Mouth 20
The Corporeal Cliff 21
The Arrow's Circuit 22
The Plagiarized Remains 23
The Creature's Eclipse 24
The Centrifugal Swarm 25
The Invisible Vowels 26
The Statue's Saliva 27
The Alluvial Tomb 28
The Prism's Nerves 29
The Abscessed Sky 30
The Scrambled Helix 31
The Dissected Breath 32
The Corroded Blood 33
The Wounded Mirage 34
The Microphone's Moan 35
The Drone's Orbit 36
The Panoramic Murmur 37
The Posthumous Glass 38
The Membrane's Collapse 39
The Marionette's Casket 40
The Retracted Hawk 41
The Eagle's Doubles 42
The Incendiary Steam 43
The Mirror's Spores 44
The Mimetic Moon 45
The Flicker's Skin 46
The Eviscerated River 47
The Inverted Urn 48
The Infested Echo 49
The Phonetic Projector 50
The Devoted Cloud 51
The Abducted Dictionary 52
The Suspended Pulse 53
The Vestigial Sentence 54
The Amplified Tide 55
The Atrophied Iris 56
The Ambushed Book 57
The Flooded Swan 58
The Demolished Flock 59
The Crown's Cocoon 60
The Cobra's Pollen 61
The Exposed Storm 62
The Ocean's Intestines 63
The Disguised Growl 64
The Exhumed Antenna 65
The Splintered Listener 66

Promotional Information

About the Author

Eric Baus was born in Fort Wayne, Indiana in 1975. He is the author of The To Sound, selected by Forrest Gander for the Verse Prize (Wave Books, 2004), Tuned Droves (Octopus Books, 2009), and Scared Text, selected by Cole Swensen for the Colorado Prize for Poetry (Center for Literary Publishing, 2011). He is a graduate of the MFA program for poets and writers at the University of Massachusetts at Amherst as well as the PhD program in Literature and Creative Writing at the University of Denver. For several years he has made technical, critical, and editorial contributions to digital audio archives of contemporary literature. Notes on PennSound, a series of commentaries investigating various aspects of the sonic and social environment of online poetry recordings recently appeared in Jacket2. He has taught creative writing and literature courses at Naropa University, University of Denver, University of Hartford, Regis University, and University of Massachusetts. An essay and exercise based on his experience working with elementary school students through the Writers in the Schools (WITS) program was published in the anthology Open the Door: How to Excite Young People About Poetry (McSweeney's, 2013). With Andrea Rexilius, he co-edits Marcel Chapbooks. He lives in Denver.

Reviews

"The poems comprising The Tranquilized Tongue propose a unique blend of Persian miniature and habanero pepper. The book is aburst with unremitting predication, each poem a merciless thought machine."--Nathaniel Mackey "For over a decade now, Eric Baus has been one of the leading practitioners of a new kind of poem, one that draws as equally on the legacy of surrealism, the nouveau roman, and even the language poets, as it does on the Deep Listening practice of Pauline Oliveros, Alvin Lucier's forays into resonant sound, the films of Charles and Ray Eames, and the voiceover of Sir David Attenborough narrating our insect and animal worlds. The Tranquilized Tongue speaks to us in a music capable of condensing geologic time into that of a microtonal interval: weird, warped, a little wobbly on its newly-hatched legs, this is a book where the word The will follow you like a gosling."--Noah Eli Gordon "Special objects in our multiple world--from eggs to kings, from bees to caskets, from wings to statues--spawn themselves with other teeming objects in a fertile generation of aphoristic actions calmed by the clarity of prose poems framed as linked short stories. The scintillating tensions between febrile nouns, adjectival properties, and active claims all in their phonemic bliss create an elegant surrealism charged with the primary mystery of Baus's lexicon."-Rachel Blau DuPlessis, author of Drafts "Eric Baus has always been a seering poet, creating language that means sound as much as it means anything, creating nothing out of anything and everything and vice versa. These poems start ringing through the glass of themselves as soon as you open the book and feel like the words of a tongue that has been tranquilized and is speaking to say why. A poem like 'The Molting Mouth' reads 'The word glass. / The word hand. / The word milk. / The word mirror.' In these four lines we are forced to see that a glass becomes a mirror only because we command it to, that we see our own reflection in poems only because the poet is kind enough, or cares enough, to command it to."--Dorothea Lasky, Poetry Magazine's Harriet Blog "Eric Baus's fourth book, is his best yet ... Made as much of matter as of sound, [the poems are] an acoustical chamber where words, sounds, letters and images are constantly emerging, intermingling, echoing, and changing into other words, sounds, letters and images ... This is a world of unpredictable and miraculous change, a world that is simultaneously philosophical and alchemical, an inseparable mixture of factual propositions and flights of fancy ... Whereas Saussure believed that linguistic signs were immaterial, Baus posits that words are living beings."--John Lau, Hyperallergic "The poems in Eric Baus's stunning fourth collection are best described as studies in scale ... The reader becomes a collaborator, a co-conspirator. And it is the book's minimalist approach that makes this refreshing, and in many ways, egalitarian relationship between the artist and his audience possible. In short, The Tranquilized Tongue is as thought-provoking as it is beautifully rendered. This is a fine addition to Baus's already accomplished and innovative body of work."--Kristina Marie Darling, Colorado Review "Extending his ongoing book-length exploration of the prose poem, there aren't many poets who work the abstract book-length fragment in the way that Baus does, or so well, managing an anchor of concrete sentences that somehow accumulate into something larger and far more nebulous ... Through short, dense poems, Baus manages to utilize each sentence as a single point, accumulating those points into a far larger shape, one as much created by Baus as by each reader's experience."--Rob McLennan, The Small Press Book Review