Laura Mullen

"In her eighth poetry collection, which nudges the edge of memoir, Mullen excavates the past in the context of exploring the intricate relationships among experience, memory, and expression. For Mullen, “memory makes us each our own guest/(g)host,” and, in focusing on narratives that resist psychological resolution, she deploys an array of literary techniques to reveal the myriad troubled ways we inhabit our selves."
--Publishers Weekly
“Enduring Freedom [is] a galloping great read, a page-turner, and dazzles with linguistic mischief and wit... I am thrilled by it.”
----Hazel White
Murmur collects an astonishing array of stories into language as a terra incognita occasioning the uncanny and always troubled confluence of the subject, the bodies it inhabits and the linguistic remainder. Mullen animates narrative at the level of its basic semantic pulse. Never since Beckett has the unnamed been so chilling...”

--Steve McCaffery
"Solid and brave and relentlessly inventive."
--Cal Bedient
"A brilliant, utterly original, fully realized work that wickedly out-tropes horror's cliches and devices.... wonderfully immediate, making an exaggerated, rollicking introduction to many of the pre-occupations, rhetorics and methods of experimental poetry."
--Publishers Weekly
"There's a rigor and intensity in Mullen's search for truth that often take her to breathtaking lengths." --C.K. Williams // "Accuracy of spirit and ferocity of intelligence prevail...This is thrilling and exacting work." --Jorie Graham
"Laura Mullen proceeds from near void into a powerful reconstruction of self…After I Was Dead is wildly versatile formally, restlessly roving from verse to prose to epistle and back."—Boston Review

Subject

“The poems in this collection are interested in making the elusive palpable, or, as Mullen writes in the poem ‘Assembly,’ with putting ‘a pressure on the actual to reveal (betray, both senses) its meaning.’ And she never shies away from the difficulty surrounding this endeavor.... ”
--Julie Reid


"The obsessive force of this poetry, ruptured by caesura and stanza, is remarkable. Despite the considerable intellectual torque, the poems, concerned always with identity, the borders of the I and the Here, are quite funny in passages. The drama of this work is gripping, convulsive, and intense."
--Forrest Gander


“To write today in English means using an idiom that is hegemonic, ‘globalized,’ no longer national. Vacated. A human, though, is necessarily sited, and here we find Mullen’s Subject. Its movement open to both “(gone) and suture,” it grasps an anxiety in American speech too often covered over by Americans, though it’s visible in the world. To cite Agamben” ‘the ethical subject is a subject that bears witness to a desubjectification.’ Mullen’s ‘subject’ is not one of triumphalism; it articulates the ‘no-one,’ the ‘not-even-who’ that generates being’s fiber, its viscosity, presence. In Mullen, ‘Belonging to a body /​ To itself unrecognizable’ is followed by ‘Open the doors. Here.’ Her ‘here’ is poetry that American English needs.”
--Erin Moure