The title sequence, No Both, was begun on the 20th anniversary of the death of Michael Gizzi's father and concluded two months later, on his mother's birthday.Here, spring meshes with issues of first and second-generation immigrant anxiety, to throw these writings into the air, where they streak and tumble -- wired, weary, cuckoo, brilliant -- finding form and redemption in bursts of uncanny verbal deliverance.
The second half of the book, We See, continues the assault on normative lyric pieties.
