An underground denizen of San Francisco soars above it in a state-of-the-art long poem.
"Nothing is left unseen, including present memories years before with friends, or a dramatic monologue through recent readership, receiving everyone's voices into a huge collage . . . City Bird is all this and more. A meditation and intense easy stroll through a poet's city and all the things that make up a gorgeous life within it, listening and living."--Micah Ballard, author of The Michaux Notebooks
Over a decade ago, Patrick James Dunagan stoically refused to be published in the Spotlight series, citing his desire to maintain critical independence as a prolific reviewer of contemporary poetry. Finally, he has been prevailed upon to turn over a manuscript, City Bird and Other Poems. Rooted in the city's culture, the poems of City Bird invoke artists like Joan Brown and Jay DeFeo, poets like Bill Berkson and Lew Welch, and local landmarks like O'Farrell Street, St. Anne of the Sunset, and Thrasher magazine, foregrounding Dunagan's lightly-worn erudition, with side trips through international modernism and country music.
But the book stands on its lengthy title poem, a tour de force combining composition and collage, filtered through the poet's laid-back lyricism. Unapologetically literary with its understated formal imperatives, City Bird is at once a self-referential poetics, examining itself unfolding, and a stream-of-consciousness narrative of Hugh, the nominal protagonist, seemingly engaged in eating a sandwich. Proustian in its sweep, even as it courts a ludicrous Beckett-like minimalism, the poem takes sidelong glances at our contemporary political malaise, while contemplating consciousness itself. If Ashbery had written "The Skaters" about skateboarders, it might have come out very like City Bird.
A major achievement in contemporary American poetry, City Bird further confirms Dunagan's reputation as the best-kept secret of San Francisco.
