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Rain intermits, bus windows steam up, loved ones suffer from dementia—in the constantly shifting, metaphoric world of Tremulous Hinge, figures struggle to remain standing and speaking against forces of gravity, time, and language. In these visually porous poems, boundaries waver and reconfigure along the rumbling shoreline of Rockaway or during the intermediary hours that an insomniac undergoes between darkness and dawn. Through a series of self-portraits, elegies, and Eros-tinged meditations, this hovering never subsides but offers, among the fragments, momentary constellations: “moths all swarming the / same light bulb.” From the difficulties of stuttering to teetering attempts at love, from struggling to order a hamburger to tracing the deckled edge of a hydrangea, these poems tumble and hum, revealing a hinge between word and world. Ultimately, among lofting waves, collapsing hands, and darkening skies, words themselves—a stutterer's maneuvers through speech, a deceased grandfather’s use of punctuation—become forms of consolation. From its initial turbulence to its final surprising solace, this debut collection mesmerizes.
In Adam Giannelli's TREMULOUS HINGE, language (the very words we use to talk to each other) is held suspect. Words and sentence structures are turned inside out; creating new ways of listening to, and seeing, the world (word). How many times has Giannelli forced me to question and reconsider the meager bones of my ears; am I hearing what I think I am hearing? Also, the poet transforms what is seen. He is as equally adept at manipulating image as he is sound. Just look at the knotted vectors he takes between tenor and vehicle when crafting figure. Geesh! We are in the hands of a master here.