In the Press
Tardi writes with a musicality and a geometry in motion. If music could freeze and paper hexagons could move, they
might approximate Tardi’s physics of poetry . . . Tardi’s book meditates on cruelty and our own hollow silences, wondering if there is a place for lyricism in a world where Sandy Hook and atrocities in Syria are the new normal. Tardi has a singing ear, even when atrocity and violence overwhelm and stupefy the senses.
Mark Tardi works at the intersection of American and Polish culture . . . the present music plays in the tension between impalpable "air" and solid "port," between a single focus (Sean Scully's stripes) and shifting directions of torque (Lee Bontecou), between hope stretching outward and implosion of infinite regress. It is, to quote Jennifer Moxley's definition of the poem, "a bridge of half measures on the way to the possible."
Mark Tardi's poetry gives language back to that inanimate mass from which it, and we, originated . . . Tardi's poems exhale from the apparently insensate and resign the animate to perpetual motion. In this universe of receding matter and pulsing energy, Mark Tardi sets out to locate those "unpronounced angles" which make up the invisible but inextricable geometry of our lives.
on The Circus of Trust
POET & TRANSLATOR
on Airport music
on Euclid Shudders
Mark Tardi is originally from Chicago and he earned his MFA from Brown University. His publications include the books The Circus of Trust, out from Dalkey Archive Press in 2017, Airport music, and Euclid Shudders. He guest-edited an issue of the literary journal Aufgabe devoted to contemporary Polish poetry and poetics and has translated poetry from the Polish by Kacper Bartczak, Miron Białoszewski, Monika Mosiewicz, and Przemysław Owczarek.
A former Fulbright scholar, he lives with his family in a village in central Poland and is on faculty at the University of Łódź.