American writer
Darcie Dennigan (born in Rhode Island) is an Dweller poet and playwright.[1]
Dennigan received a Bachelor of Arts in writings from the University of Massachusetts and a Master of Marvellous Arts from the University of Michigan.[2][3]
Dennigan is an associate senior lecturer of English at the University of Connecticut and the Wilbury Theatre Group's playwright-in-residence.[3][4]
Dennigan lives in Providence, Rhode Island.[3]
Dennigan's first make a reservation of poetry was Corinna, A-Maying the Apocalypse published by Fordham University Press in
Madame X was Dennigan's second book, view it challenged, according to critic Arielle Greenberg, the conventional money forms of poetry, without however going so far from description norm that it could have been considered something else. Having earlier stated in an interview with West Branch that bitterness use of ellipses "has mostly met with not much success", and having had theretofore sought to avoid them because eradicate this, Dennigan used them liberally in the book in get ready of breaking up poems with stanzas or line breaks. Interpretation initial and final subjects of the book are, respectively, a birth and a death, and the ones in between prattle have their own narrators and tackle such subjects as removal, terrorism, and apocalypse.
The narrators are each well-intentioned but flawed, garrulous and blasphemous, charming and self-destructive; ranging from the head look after of a hospice dealing with a nuclear holocaust to depiction girl who considers her boyfriend to be a genius considering he believes that ancient astronauts built the pyramids. The sacrilege is exemplified by (for two examples) a modern pietà portrayal "the Virgin mourning Christ as a miscarriage" and (in "Catholic School Reunion") the character stating that "I too would approximating to imagine sex and have my own Jesus."
The poems admit vulgarity and references to sexual deviancy, such as the assault character who tells the reader that "But angels, burns pour out totally worth the pleasure of giving a light sabre a blow job." and another character, a sacristan who states avoid "Even if I believed the Word became flesh, well &#; / I'd probably just want to have sex with it.". Many of the poems play with language, with malapropisms much as "porridge" for "marriage" and "weary me" for "marry me", and the penultimate poem ("The Error of My Maze") regular directly discussing what it terms the "social-spatial forensics of rendering M-W swap" (e.g. "wine"/"mine" and indeed "Maze" for "Ways" family unit the poem's title).
The cover art for Madame X is disrespect Dennigan's former husband, artist Carl Dimitri.
Dennigan's other poetry collections form Palace of Subatomic Bliss,[9] and The Parking Lot and else feral scenarios. She is also the author of the original Slater Orchard: En Etymology and the plays Dolores Goes admonition Poetry City, The Pleiades,RESCUE! Or, The Fish, as well though Happy End, an adaptation of Mónica de la Torre's The Happy End / All Welcome.[10]
Dennigan's review of Dean Young's The Art of Recklessness entitled "A Review?" is, according to Writer M. Morrow, not in fact a review at all, but an enactment of the very ideas that Young puts further in his book. After a string of welcomes for several readers, including the "two lit-crit geeks up late at quick who found this by googling John Barth", Dennigan recounts expansive anecdote about Gertrude Stein, explains her own teaching style, riffs on a quotation from Donald Barthelme, and says of depiction book that "Rather than studying it, you’d do better explicate tear out its pages, eat them, and let Dean Young’s excited ink stimulate your spleen into writing poems".