Junk
List Price:
$15.95
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Product Details
Author:
Tommy Pico
Format:
Paperback
Pages:
80
Publisher:
Zando (May 8, 2018)
Imprint:
Tin House
Language:
English
Audience:
General/trade
ISBN-13:
9781941040973
ISBN-10:
1941040977
Weight:
4.5oz
Dimensions:
6.06" x 9" x 0.25"
File:
RandomHouse-PRH_Book_Company_PRH_PRT_Onix_full_active_D20260405T165152_155746784-20260405.xml
Folder:
RandomHouse
List Price:
$15.95
Country of Origin:
United States
Pub Discount:
65
Case Pack:
76
As low as:
$12.28
Publisher Identifier:
P-RH
Discount Code:
A
QuickShip:
Yes
Overview
An NPR Best Book of the Year
From 2018 Whiting Award winner Tommy Pico, Junk is a book-length break-up poem that explores the experience of loss and erasure, both personal and cultural.
The third book in Tommy Pico’s Teebs trilogy, Junk is a breakup poem in couplets: ice floe and hot lava, a tribute to Janet Jackson and nacho cheese. In the static that follows the loss of a job or an apartment or a boyfriend, what can you grab onto for orientation? The narrator wonders what happens to the sense of self when the illusion of security has been stripped away. And for an indigenous person, how do these lost markers of identity echo larger cultural losses and erasures in a changing political landscape? In part taking its cue from A.R. Ammons’s Garbage, Teebs names this liminal space “Junk,” in the sense that a junk shop is full of old things waiting for their next use; different items that collectively become indistinct. But can there be a comfort outside the anxiety of utility? An appreciation of “being” for the sake of being? And will there be Chili Cheese Fritos?
From 2018 Whiting Award winner Tommy Pico, Junk is a book-length break-up poem that explores the experience of loss and erasure, both personal and cultural.
The third book in Tommy Pico’s Teebs trilogy, Junk is a breakup poem in couplets: ice floe and hot lava, a tribute to Janet Jackson and nacho cheese. In the static that follows the loss of a job or an apartment or a boyfriend, what can you grab onto for orientation? The narrator wonders what happens to the sense of self when the illusion of security has been stripped away. And for an indigenous person, how do these lost markers of identity echo larger cultural losses and erasures in a changing political landscape? In part taking its cue from A.R. Ammons’s Garbage, Teebs names this liminal space “Junk,” in the sense that a junk shop is full of old things waiting for their next use; different items that collectively become indistinct. But can there be a comfort outside the anxiety of utility? An appreciation of “being” for the sake of being? And will there be Chili Cheese Fritos?
