“Through careful visual composition and an experimental spirit that even the legends of jazz would admire, this chapbook pops off with flushed language and jolting creativity.”
metal used for beauty alone
by Claudia Saleeby Savage
Equal parts experimental bellow and love utterance, Claudia Saleeby Savage’s new collection, metal used for beauty alone, is a plea for music as prayer, music as protest and balm, music as change. Her poetry entrances as she casts Macbeth’s witches to perform jazz spells to urge the musician to rage and energize themselves as they heal the world.
Early Praise for metal used for beauty alone:
metal used for beauty alone, is a three-a.m. jam session. These free form poems levitate off the page. Savage anoints the reader with praise songs, spells, tributes to jazz legends and the quickening of the saxophone’s textural meaning and full register. These witches hold nothing back.
—Jacqueline Johnson, author of A Woman’s Season
Claudia Saleeby Savage’s provocative, transcendent poetry brilliantly captures the energy of live music, providing a perspective that can only come from inside the band onstage. This book is for those who find the systemless system of free jazz relaxing. Those who, like our fearless narrator, have had their hearts “savaged by grief” and “hate boxes.” Along with Pharoah Sanders, John and Alice Coltrane, and the author’s husband and musical partner John Savage, metal used for beauty alone “blows a horn to heaven.”
—Christopher Luna, Inaugural Poet Laureate of Clark County, WA
and founder of Ghost Town Poetry Open Mic
metal used for beauty alone proposes and enacts a world where instruments prevail in production and resonance over guns. Through careful visual composition and an experimental spirit that even the legends of jazz would admire, this chapbook pops off with flushed language and jolting creativity. Lively scores (not deadly shots) fire as we read, led by Savage as our witch observer who can “stun the moon,” “hush the sirens,” and “refold our brains” to sort out systemic violence. The poet is a proxy to musicians, together disarming a trigger-happy death grip in favor of the power of clapping sax keys, markings for breath, and collapsing wordplay. Society in metal used for beauty alone is populated by healing dissonance, spiritual jazzers, and live shows, all pistoling a post-military-industrial complex through poetry… inviting us to tarab instead of annihilate.
—Katherine Factor, author of A Sybil Society: Poems
About the Author:
Claudia Saleeby Savage’s writing explores diaspora and dichotomy and has been featured in print, on stage, and in galleries throughout the country. She’s a poet, essayist, and author of Bruising Continents, The Last One Eaten, and the collaboration The Hour of Anjali. Her work lives on the page, but more often with her performance duo Thick In The Throat Honey (2019 semi-finalists for a Creative Capital award on the Syrian refugee crisis). She’s received support from PJCE, RACC, The Black Earth Institute, Jentel, Ucross, the Global Education Center, and the Atlantic Center for the Arts. Her poetics are influenced by rabid reading, dancing, Alice Coltrane, and long walks in drippy forests. She works in the field of renewable energy and lives with her husband and daughter in Portland.
She can be found on www.claudiafsavage.com, www.thickinthethroathoney.com, and Instagram @thickinthethroathoney. Though, she’d rather you ask her to coffee.
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