I love my job. There, I said it.
Sure, it has its pitfalls and frustrations (what job doesn’t?) but it also gives me the opportunity to not only read, but actively promote some great work—and this time, that work happens to blossom from the pen (or keyboard) of Kim Triedman.
What I love most about Triedman’s work is its uncanny range, its ability to be lyrical and almost pastoral one instant (as in “Augury”), then in “Drawing the Figure,” shift to a darkly comedic directness reminiscent of Kim Addonizio or Taylor Mali.
“Bijou” is noteworthy, too—not just because of an attention to detail that reminds me of Deep Imagists like William Carlos Williams, but because it shows the same metaphysical pondering we see in “Speed” and “Wordplay,” a kind of artistic detective work that’s all the more poignant because it’s obviously not an academic exercise but a true, sincere pursuit for which art is the best mode of expression.
Thanks for reading. I hope you’ll enjoy her work as much as I did.