Eunoia

Starred review from October 19, 2009
Canadian experimental poet Bök's Eunoia
, first published in 2001, is already legendary. In it, Bök devotes a chapter to each vowel, using only that vowel as well as a handful of other rules and restrictions, to create series of poems that push the English language to limits and possibilities no one knew it had. This new edition reprints the entire original book and adds a section of new poems that comment on the original project or take up other alphabetical themes (“And Sometimes,” for instance, uses only English words with the letter Y and no other vowels). What at first seems like a game turns out to be a means of unlocking a kind of hidden nature of the English language: the vowels, it turns out, each have their own moods and environments revealed by their repeated use. “A law as harsh as a fatwa bans/ all paragraphs that lack an A as a standard hallmark,” reads the first poem. The vowels inspire, if in fact they don't contain, stories of their own. The E chapter narrates a war-story about Greeks worthy of Homer: “When the rebels beset defended trenches,/ the defenders retrench themselves, then strengthen/ the embedded defenses.” This book is jaw-droppingly powerful, a mythology of sound.

November 26, 2001
"Writing is inhibiting. Sighing, I sit, scribbling in ink this pidgin script. I sing with nihilistic witticism, disciplining signs with trifling gimmicks impish hijinks which highlight stick sigils. Isn't it glib? Isn't it chic?" Besides being glib and chic, Bok's new book strikes one with the force of being the most incredible literary curio: each of its chapters is allowed to use only one vowel outgunning even Georges Perec's famed La Disparition, which simply omits the letter "e." Apparently seven years in the making, Eunoia, the shortest word in the English language to employ all the vowels (it means "beautiful thinking"), also employs other, more mundane constraints on paragraph length (all are 12 lines long) and what must be mentioned (the act of writing, nautical travel, energetic eating). This hyper-mechanization of the writer's craft sets the stage for a welter of eccentric, yet universally appealing, tours-de-force, such as Chapter E's retelling of the Illiad from the viewpoint of Helen: "Whenever Helen seeks these perverse excesses, her regretted deeds depress her; hence, Helen beseeches Ceres (the blessed Demeter): `let sweet Lethe bless me, lest these recent events be rememberd' then the empress feeds herself fermented hempseed, her preferred nepenthe." In the "u" chapter, "Dutch smut churns up blushful succubus lusts," and Ubu and Lulu burp, hump and bump for five delirious pages, exhausting, in the meantime, the entire range of English words that only contain the vowel. Eunoia's reductorial neurosis as euphonically zestful contrivance turns formidable stunts to imp's play. That is, this terrific book makes sense on its own terms. (Nov.) Forecast: Bok's debut Crystallography was well reviewed in Canada (Bok lives and works in Toronto, whence Coach House publishes), and he has invented languages for two Gene Roddenberry TV series, Earth: Final Conflict and Amazon. This book will have to be sought out, but it is beautifully produced, and browsers will be hooked.