When I read a Marcus Slease poem I am reminded that the world is made up of billions of parts, each with their own soul, each with a great ability to illuminate the sacred while also misbehaving. Slease is a poet who reminds us the wildness of life is not something we can control or even fight against but rather something we should witness and honour.
– Matthew Dickman, author of Wonderland
Marcus Slease’s gentle & generous engagements with the ephemera of almost-everyday life, coupled with a variant of bill bissett’s Lunarian English, and a sensuous, curious, cosmopolitan, and compassionate world-view, make this happily humble beautifully-modulated everything collection—without any shadow-of-a-doubt—my book of the year. For 1973 and for 2017.
– Tim Atkins, author of On Fathers < On Daughtyrs
Marcus Slease’s Mu (So) Dream (Window) lets in haunting landscapes where bodies and locations are in constant motion, dissolving and precipitating, presence and absence following each other’s shadow: The foreign desert is encountered by its sand blowing through a muted city, delivery food and Rumi are found left on the doorstep, the taste and warmth of “you” are dissolving on the tongue. Here, writing becomes an act of tracing, in which all presences are intensified in their muted, bodily foreignness.
– Jiyoon Lee, author of Foreigner’s Folly: A Tale of Attempted Project
This poetry has seen a lot, has seen the world, but it catapults onward unjaded, grimy/sparkly, “huffing life.” If poetry is throught [thought/through/through it/rough/route/wrought] then Marcus Slease is on its tube train and he’s pulling out the stops, he’ll “unlatch/the room” you read in.
– Catherine Wagner, author of Nervous Device
Slease refuses the comforts of rootedness, stability, permanence. In doing so, he represents what the philosopher Rose Braidotti identifies as the model of nomadic subjectivity “in flux, never opposed to a dominant hierarchy yet intrinsically other, always in the process of becoming, and perpetually engaged in dynamic power relations both creative and restrictive.
– Piotr Gwiazda, author of US Poetry in the Age of Empire
Marcus Slease offers a great deal in Play Yr Kardz Right.
– Mike Topp, author of Happy Ending: The Selected Writings of Mike Topp
These deeply sound-based poems perform the linguistic athletics of English-to-English immigration: ‘I began in uh faild sosighity / with mushee piez / & fried pineappulz.’ This book dishes a sauce of green slime, trailers, ducktails, and fantasy: that of both sex and magic. The titles swirl with pop culture—Pretty in Pink, Body Snatchers, Beaches, Chariots of Fire—making the whole collection hum with non-sentimental 90s nostalgia, playful and pointing at the same time: Ronuld RAYGUN. This book is a delightful, full-bodied, fluid-rich study of how the past still exists in the present: ‘my bag / 4ever / uh rottun banana.
– Laura Wetherington, author of A Map Predetermined and Chance
These are not merely some of the most extraordinary lyrics about central European urban realities since the death of the great Polish experimental poet Miron Bialoszewski. They are, simply put, some of the most extraordinary lyrics I have ever read about how to live with disciplined joy in the continual alienation that is urban life. Godzenie is a book about how to live in the midst of hardship by doing the only thing fully possible: reconciling the continual loss of the here with the continuous arrival of a now. So, here at last is the expatriot heir of Bialoszewski. Strange that he should be Irish. Fitting that he should write with a mind as laminar, with a heart as wise, with lines as strange, as his predecessor.
—Gabriel Gudding, author of Literature for Nonhumans
Word ruptures: watching the words watching the mind write the words write the mind’ – this is an extract from the final section of Marcus Slease’s Godzenie and it would be hard to find a more apt description of his modus operandi as he trawls through the funny, frightening, sexy, sterile, prosaic, surreal, boring, brutal and tender landscape of 21st century post-communist Poland. Slease is in his element as he shows us the ghost in the boat, the loud sausages and the bottomless prayers of a country in a state of flux. A marvellous debut collection.
—Geraldine Monk, author of They Who Saw the Deep
The traveler of Godzenie hallucinates from his diamond hotel bed a bestiary of memories while simultaneously tapping into the post-communist Polish now. We encounter the terror and kitsch of a folk subconscious as found in the house of the frog, where we meet Mrs. Vogel to the tunes of George Michael and a whiff of boiled kapusta.
Marcus Slease’s playful travelogue carries us through this foreign landscape in the same breath he also addresses the stranger that is the self, writing a mirror through which we may enter his inner Poland. This reconciliation of the inner and outer might be the godzenie of the title, the alien memory machine and robot heart of a town whose shape on the map is unmistakably human.
—Amy King, author of The Missing Museum
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