The collection's cornerstones are two rhapsodies - long poems which combine the richness of a novel, the intimacy of a lyric, and the immediacy of a performance. At the climax of the first, the poet meets his double, a dying boy whose shameful moniker is "Baldie." As if in response to this explosive confrontation, the poet dares to write a second, wilder "Rhapsody" - a confessional, improvisatory fantasia, virtually a book in itself, where abjection blossoms into formally-innovative extravagance. Three sequences complete the collection: "Piano Life," a series of haunted meditations on music and mortality; "Erotic Collectibles," a disarmingly unsentimental account of sexual awakening; and "Star Vehicles," in which the poet sees his perplexities reflected in Bette Davis, Sophia Loren, Ida Lupino, and other leading ladies.
Wayne Koestenbaum has published five books of critical prose, including The Queen’s Throat: Opera, Homosexuality, and the Mystery of Desire, which was a National Book Critics Circle Award finalist; and three books of poetry, including Ode to Anna Moffo and Other Poems. He is a Professor of English at the Graduate Center of the City University of New York.
Much of it feels like stream of consciousness, automatic writing. It would be tiring except that I like the same things Koestenbaum does and am happy to read his ramblings about them, particularly the pervy stuff. There aren’t enough openly pervy writers of quality.