Nathaniel Mackey

Still sourcing and exploring two massive, braided streams of retrospective invention—‘Mu’ and Song of the Andoumboulou—Mackey’s liturgy falls and sprays and pools in Double Trio. Bottomless, modal, modular as McCoy Tyner’s matched, augmented threes, surfaces bloomed with turbulent, recombinant bottom like Bill Dixon’s double-bassed ensembles, Double Trio doesn’t culminate: it promises.

Because of their crablike logic Mackey’s lines feel simultaneously abraded

and buffed, their meanings fugitive, tremulous, mercurial. He is a lyric poet

whose probing of wounds and the whir of words reaches into epic

dimensions.

Because of their crablike logic Mackey’s lines feel simultaneously abraded and buffed, their meanings fugitive, tremulous, mercurial. He is a lyric poet whose probing of wounds and the whir of words reaches into epic dimensions.

Mackey is doing what might be the most technically virtuosic rhythmo- syntactic work in the English language. No one comes close. I hope these two long poems never end.

Our greatest living epic poet…Mackey’s poetry and criticism…have reinvented modernism for our time.

Instead of accepting the casual clichés which plague musical writing, Mackey adapts a set of stylistics which are uniquely his own: much like those breaths which are prodigiously pushed out of a tenor, a trumpet, or an oboe, the words read as chaotic, harmonious, suspensions of the spirit which one must hear before they may fully inhabit.

A literary adventure of the highest order, a feat of prose and imagination that takes the fiction genre into new territory. One of the most memorable meetings of prose and jazz in English literature.

A poetic lift…wild, free-wheeling spirit…

Nathaniel Mackey is a poet of ongoingness involved in a kind of spiritualist or cosmic pursuit.

It feels, sentence to sentence and page to page, like a work in the act of being created. It is not simply writing about jazz…. There is a cliché about music writing, sometimes attributed to Thelonious Monk, among others: ‘Writing about music is like dancing about architecture.’ If so, Nathaniel Mackey is compelled, rather than deterred, by the multiform madness of the enterprise. He is the Balanchine of the architecture dance.

Mackey is a sure and skilled and authoritative composer / compositor…The workings of his words indicate an uncontestable care and loving respect for the most subtle and resonant nuances of language.

Mackey’s rampant alliteration and his reconfiguration of words on the phonemic and morphemic level create a sonic atmosphere that enacts a state of jazz.

Mackey’s writing (much like the best of Ornette Coleman or country blues) rewards close reading with resonances of real experience.

Blue Fasa asks what the lyric can give us, and answers in an immense and generous manner. In Mackey’s music, we viscerally feel the physicality of language as well as the history and feeling encoded in it. It would be a loss for contemporary poetry to forget that sensuous shuttle of syllables from tongue to sound wave.

Nothing short of astounding.

The book is a collection of many poems that can also be treated as one epic poem. It follows several characters, who are on a journey of self-discovery, known as the philosophical posse.

Remarkable erudition and singular lyric virtuosity.

Nathan Mackey’s ongoing serial projects in poetry and prose over the past three and a half decades arrow among the great wonders of our literary moment.

Mackey’s words go where music goes: a brilliant and major accomplishment.

Nathaniel Mackey is a poet of ongoingness involved in a kind of spiritualist or cosmic pursuit.

Nathaniel Mackey’s poetry ambitiously continues an American bardic line that unfolds from Leaves of Grass to Pound’s Cantos to H.D.’s Trilogy, winds through the whole of Robert Duncan’s work, and extends beyond all of these. Mackey’s own rare combinations create an astonishing and resounding effect: his words go where music goes: a brilliant and major accomplishment.

An open-ended exegesis of musical meaning that is equal parts African American history, Bedouin mysticism, and Mackey’s own imagination.

The pleasure of the book comes from its descriptive daring.

He is the Balanchine of the architecture dance.

In both Song of the Andoumboulou and ‘Mu,’ Mackey describes the music he hears––its history, players, sounds. But more often than not he transposes the music he hears into words, channeling the spirit, re-incarnating it into the English language.