Michael Klaas
My experience with dg nanouk okpik’s poetry is similar to the experience I have with a Rothko painting or other work of abstract modern art. It’s an emotive flourishing born from pieces and colors I don’t fully understand. She speaks in rhythm and bullet points of phrases and words that are evocative but not fully explanatory, nor obvious in their interconnections.
The result is a body of work that occasionally moves me, but more often leaves me baffled. Then there are brief stanzas that catch my full wonderment…
Her / my songs call shadows
to lie sideways
and shamans to sway
in the northern tilt
of ten thousand years of ease.
- from Riding Samna’s Gyrfalcon by dg nanouk okpik
There is a bit of poetry that somehow speaks to my understanding of the world, just for a brief moment. And it speaks in language that I cannot myself evoke, so I deeply value it, even though those moments are too sparse within her work for my taste.
My experience with dg nanouk okpik’s poetry is similar to the experience I have with a Rothko painting or other work of abstract modern art. It’s an emotive flourishing born from pieces and colors I don’t fully understand. She speaks in rhythm and bullet points of phrases and words that are evocative but not fully explanatory, nor obvious in their interconnections.
The result is a body of work that occasionally moves me, but more often leaves me baffled. Then there are brief stanzas that catch my full wonderment…
Her / my songs call shadows
to lie sideways
and shamans to sway
in the northern tilt
of ten thousand years of ease.
- from Riding Samna’s Gyrfalcon by dg nanouk okpik
There is a bit of poetry that somehow speaks to my understanding of the world, just for a brief moment. And it speaks in language that I cannot myself evoke, so I deeply value it, even though those moments are too sparse within her work for my taste.