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mind for a very long time until they exploded to the forefront of<br />
my consciousness upon reading her book, Ashes and Seeds, and I<br />
became beatifically aware that her linguistic gifts were in the<br />
lineage of Rimbaud and Borges. Her poetry jolts the imagination<br />
for its deployment of complex symbols infused with cryptic<br />
personal references.<br />
So it makes sense that these two titans of talent collaborated<br />
on a tome of verse. Their approaches diverge and converge in<br />
fascinating ways.<br />
The poems that inaugurate the collection are not ghazals -<br />
they are the "other" referred to in the title. These first few poems,<br />
in a word, are stunning, and a nice way to ease into the intensity of<br />
the ghazals. These poems are their own version of intense,<br />
however, as they create startling sensory and synaesthetic<br />
impressions and the words and images veer toward unexpected<br />
intersections, where there are collisions and clashes that become<br />
glorious idiomatic idiosyncrasies.<br />
The ability to commandeer language for their own linguistic<br />
agendas is where Murphy and Greenblatt excel.<br />
From “A Tone Endures”:<br />
"One washes young trees<br />
as though a blossom would be truer<br />
than root structures, thinking<br />
how not to admire the violent craft<br />
of spiderwebs<br />
thinking, work is a series of self<br />
interruptions and perverse<br />
tunings, yet here is another new year, earth tipsy with<br />
the pointblank light of the raw sun.”<br />
These lines almost read as aphorisms, through which we can<br />
glimpse a world harbored in the shadows, or one that has been