A mother and daughter journey together through a strange speculative world in this experimental book-length poem.
 
Annelyse Gelman’s book-length poem Vexations is a surreal, glitchy meditation on empathy, ecology, and precarity. Throughout the book winds a narrative about a mother and daughter as they move through a world of social and economic collapse in search of a post-capitalist safe haven. All the while, they also navigate a condition that affects the daughter’s empathic abilities, making her vulnerable to emotional contagion.
 
Vexations is titled and structured after Erik Satie’s composition of the same name, a piece that requires patience, endurance, and concentration from both its audience and its players. Similarly, Gelman’s Vexations employs repetition and variation to engage the reader’s attention. Hers is an ambient poetry, drawing on the aesthetic qualities of drone music and sampling voices and sounds to create a lush literary backdrop filled with pulsing psychedelic detail.
 

"Extraordinary . . . In this apocalyptic dream-vision of a poem, Gelman confronts head-on the question of what separates poetry from other uses of language, particularly the dystopian
vernacular of corporate newspeak, pseudo-therapeutic jargon, PR hype, and the dolorous cant of bourgeois self-talk. . . . Surreal, often nightmarish, flecked with grim humor, Vexations is a litany of bizarre images and turns of phrase, head-spinning non sequiturs and flights of syntactical fancy." - New York Review of Books

"I am reading this book-length poem for the third time in order to keep thinking about a poem that keeps thinking. So deft it feels almost offhand, Vexations captures how the mind chews over ordinary details and observations, enlarging them with imagination and anxiety. Inspired by Erik Satie’s piano piece of the same name in which the same short melody is repeated hundreds of times, Vexations feels like a long walk with a friend you don’t get to see nearly enough." - The Guardian

"Gelman’s intriguingly readable Vexations is a brilliant new book-length poem composed of 220 sestets that subtly resist their form and function start to finish like well-oiled wheels. . . . The skeletal plot, polyvocal at times, proceeds not by logic but through the dislocations we all feel in a time of sociopolitical turmoil, and it is Gelman’s surreal touches and command of a highly nuanced language that propel us . . . Along with its marvelous tonal range, versatile use of language and imagination, what drives this work forward is its mysterious plot. . . Brava Annelyse Gelman, a poet who gives us a feminist epic, punchy and curiously inflected at just the right times  . . . Vexations is nothing less than an astonishing, polytonal romp that vividly sustains and attempts to redeem our ecologically battered and high-tech world." - Los Angeles Review of Books

"Gelman’s Vexations moves in organized disjunction through a winding narrative that insists and compels." - Harriet Books

"“Vexations is a brilliant, dizzying, necessarily unnerving take on the project of the state and the varied estrangements on which it feeds. Demanding and speculative, Gelman’s book-length poem names the absurd conditions out of which we (readers), and the text itself, emerge, awakening a rage. The world Gelman creates is a strange, slant rendering of our own, delivering shock after shock of recognition in our reading of its intimacies—clarity, threat, pleasure, dread. Part mother’s account of her life with her young daughter, part encounter with Erik Satie’s nineteenth-century score of the same name, Vexations is a poem, a performance, and a score of endurance. It is a book radiant and terrifying with our time. It is afire.”" - James Laughlin Award judges' statement

"This experimental book-length poem traces a mother and daughter’s travels through a surreal landscape on the verge of ecological and social collapse." - Publishers Weekly

"Gelman’s book-length poem Vexations begins with the speaker pregnant as the world around her does not so much crumble—a turn of speech that implies the familiar language of personal grief, not systemic collapse—as issue some siren announcing its apocalyptic, climatic coming to end." - 4Columns

"Brilliant. . . Relentlessly and restlessly experimental. . . the book is also compulsively readable, a page-turner—a combination, honestly, I’ve seldom seen before." - Colorado Review