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Tupelo PressThe Book of Whispering in the Projection Booth
 Photo by Mathias Svalina
$16.95
Paperback Original ISBN: 978-1-932195-67-5 SynopsisInvoking connections between cinematic and poetic images, The Book of Whispering in the Projection Booth traverses a split between the essential innocence and peculiar severity of children’s games. Drawing on films such as Víctor Erice’s The Spirit of the Beehive and Charles Burnett’s Killer of Sheep, the art of Yoshitomo Nara, and the writings of Charles Brockden Brown, Wilkinson shifts between lyrical fragments and stark, image-laden prose poems in a series of phantom songs and little yarns: “The messenger picked a powdered tulip & placed it on the frozen windshield of a truck behind the tannery as the tannery smoked. But it was still early & all the bachelors huddled in a corner to watch who came in. I came in.” And so should you . . .Equal parts flashed-forward backstory and passing sad daydream, The Book of Whispering in the Projection Booth helps us and hips us to the circus of public secrets. I trust this book as far as it can throw me.—Graham Foust Reading this collection is like trying on someone else’s dreams. Or getting secret, elliptical messages from the books that you read, and loved, in childhood. Strangely satisfying, and satisfyingly strange—I’m a fan.—Kelly Link Reader's CompanionDownload a free PDF Reader’s Companion for Joshua Marie Wilkinson’s The Book of Whispering in the Projection Booth.ReviewsJoshua Marie Wilkinson’s The Book of Whispering in the Projection Booth has received very positive notice in the autumn 2009 issue of American Poet, magazine of the Academy of American Poets:The poems of Joshua Marie Wilkinson’s fourth collection lure, hypnotize, and stun. Wilkinson beckons us to slip out of the mundane acts of day-to-day life and into a world devoid of boundaries and temporal continuity. Memory collides with fantasy to yield a series of prose and lyrical fragments described by Graham Foust as being ‘equal parts flashed-forward backstory and passing sad daydream.’ A pervasive, uncanny awareness of self tumbles through the book as the speaker reveals his knowledge of intimate details. Such is the case in ‘sleeping & arriving alike’ where the speaker declares, ‘I know the name of what you used to wish to become. I know the sounds you make sleeping & arriving alike.’ This collection is rife with similarly unsettling insights, and ultimately, we emerge from Wilkinson’s cinema of curiosa refreshingly disturbed and ready to question our routine acts both as performers and a voyeurs. Tupelo Press |