Live spoken word performance at ISSUE PROJECT ROOM.
Live spoken word performance at ISSUE PROJECT ROOM.

Track Listing

Track Title Add track to cartClick to play sample
1. Withdrawal
$1.00
2. Laundry And Grief
$1.00
3. One Flight
$1.00
4. Clouding
$1.00
5. Running
$1.00
6. Fall River Girl
$1.00
7. Dounia
$1.00
8. 3 Haiku
$1.00
9. Trip
$1.00
10. Cycle And Layer
$1.00
11. Clearing
$1.00
12. Pressed Tin
$1.00
13. Solstice
$1.00
14. Play
$1.00
15. Passing
$1.00
16. Puddle
$1.00
17. Bastard's Song
$1.00
18. Open Window
$1.00
19. Promise And Lie
$1.00
20. Holding
$1.00
21. Night
$1.00
22. Hacking
$1.00
23. Entry
$1.00
24. Dead Man's Point
$1.00
25. Breaking The Muse
$1.00

More Info

Release Year
2007
Label
Philistine
Produced By
James McElhiney Marc Zegans
Recorded At
ISSUE PROJECT ROOM
Engineered By
Sarah Ibrahim (Live Sound)
Mixed By
James McElhiney
Mastered By
James McElhiney
Genre
, ,
Location
Cambridge , MA, USA

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Reviews

Her Darling Light Quiet Now

Posted on Jan 19, 2008 by Matthew D'Abate

Rating: 5 out of 5



Her darling light quiet now, receding/ too dim for shadow; her open
eyes/ unpuddled by grief, light on nothing/ as her dust flicked
lashes/ untwitched, wait ready/ Is this poise, or something less?

"Laundry and Grief". This is classic Zegans. Immediate sensory
images, dangerous yet alluring eroticism, truthful, and sadly, often
regrettable intuition into the hearts and consciousness of others. As
his cd, “Night Work”, unfolds Marc Zegans, Cambridge's own poet,
pushes us ever further into the dark and murky areas of our own
sexual and primal natures. Guided by his verbal flashlight, the nooks
and crannies of loss, regret, desire, and memory are set in the
gallery for viewing.

On "Night Work", the blend of nocturnal growls and light-hearted
mornings come through in his vocals made emotive by the language,
Zegans weaves these sensory photographs with authentic passion, his
voice yearning to touch another being. This is poetic intercourse and
"Night Work" is the aphrodisiac.

"I ere in favor of this long moment/knowing I have broken it forever."

"Nightwork" by Marc Zegans: Poems That Impact Like a Fist, At Times Like a Lover, At Times Like a Mirror

Posted on Sep 20, 2007 by Donna Creighton

Rating: 5 out of 5

Every artist, writer, and painter longs to find another person in their lifetime to which they can say, “you really get me, who I am and what I have been through.” We long for a connection with someone who can show us that our experiences in this life are valid not a creation of memory or what often we are told is our memory twisted to suit our own view of the world. We hope that somewhere there is another human being on the planet that can describe for us our experiences of life: our loves and losses, our joys and our trauma. Why else, if not to find pieces of our fractured souls among the lives of others, would we seek to lose ourselves in art, to read stories and poems, or lose ourselves in a good book? This search came to a conclusion for me when I discovered the poetry of American Performance Poet, Marc Zegans: poems that at times impacts like a fist, at times like a lover, at times like a mirror.

There are 25 poems on Zegans recent live CD rich and resonant with vivid images skilfully spoken in a way that makes those images dive deep and take hold. Though Zegans gives us countless things to ponder and feel, he winds a thread of images that focus’ on the eyes, vivid descriptions through vision, light and dark which takes the listener, almost harnessed, place to place showing past, present and future. Hand in hand we travel with the same emotional attachment and detachment as the poet, responsibility and survival: controlled and disciplined. We look, we feel, we experience, and, finally, we are validated by events.

Several poems stand out for me as particular gems. In “Clouding” the female’s eyes are “turbulent as milk”. She is totally creepy—the snake in Jungle Book, evil has taken up residence in her “quivering copper irises”, yet the poet feels at fault.

There is a song like quality to the repeated lines in “Solstice”. Like a chorus in a Tom Waits song we journey around a renovated haunt of Zegans’ youth: “I washed back twenty years” the chorus repeats until our tour of the bar ends with a sweet and sour lime twist when Zegans discloses that he and the bar “had changed places” and he had become the trusted old place of his youth: pure!

“Bastard’s Song’s” lines that turn tumble double entendres into tags and da capos. “Illegitimate I in wedlock born” articulates, alliterates and legitimizes the common misconception of accidental pregnancy and birth and questions how the life of a child born and living could be of no consequence.

Promise and Lie: Images of light and reflection, metal and monster, violence and acceptance that in the end, with a body broken or spirit beaten and bruised, cracked and exposed like mosaic tile still has value and worth in the world if only to eventually tell the truth.

In “Puddle” we stand at the edge of Walden’s Pond, alone in a beautiful empty and quiet moment longing for wider spaces and feel what Robert Frost may have felt in “Stopping By Woods on a Snowy Eve”. With a similar emotive sense to the poems of Leonard Cohen we are voyeurs having a luxurious sexual experience with “Night”, “Fall River Girl”, and “Dounia”, and we are shaken by images in “Trip” of death, dying and darkness as though we were standing at the side of a dying man’s bed as he repeats “I died three deaths last night”.

Zegans’ works show that all experience is worthwhile: that there is a purpose for the pain, grief, sorrows, joy and longing. In the end we are left knowing that love indeed exists and that we can do more than survive. We may be damaged, but we are still standing, standing true—choosing to live fully, to love fully, even as we find ourselves fractured, broken, and beset by periods of despair. Walking hand in hand with the author, we look at the bits and pieces of our broken lives and find that in the journey we have come to embrace our true selves.

NIGHTWORK, Mark Zegans

Posted on Aug 27, 2007 by ERIC EDELMAN

Rating: 5 out of 5

Marc Zegans’s poetry is so thick with imagery, so physically dense, that it overwhelms one’s sensorium. Rife with synaesthetic possibilities, the poems in the spoken album Nightwork invite full-body participation: one cannot listen passively to them, one plunges through them, feeling their wordstreams impinge with friction upon the body as one swims through a welter of light and smell and taste and sound. Aural images do not translate, but rather transmute instantaneously to other modes of sense. All of this arises simply from woven, spoken words.

But all is not full roaring flood in Zegans’s world. Thickly sensual wordflows alternate with stanzas of upright and more measured rhythms, achieving together a balance possible to neither alone. The poems “Dounia,” “Play,” and “Solstice” demonstrate such balance: Zegans uses the power of repeated lines to frame and contain, the stress of repetition to propel the poem forward.

Part of the allure of this collection of poems arises from Zegans’s delivery. Beautiful and muscular as they are on the page, the poems as spoken by their poet gain in the voicing. Zegans has always been a sensual poet as well as a sensual man. With his voice, with his timbre and rhythm, he conveys his keen appreciation and savor of physical things and processes. This extends not only to pleasurable but also to painful (even agonizing) subjects: In “Cycle and Layer,” for example, Zegans’s voice expresses passionate admiration and wonder at the intricate layering and transfixion within a sculptural portrayal of gestation, an enthusiasm grading masterfully and gradually into elegiac sadness, ending finally in gentle wryness. And in “Solstice,” Zegans uses the line “I washed back twenty years” thrummingly, to build a ricercare of call-and-response that returns again and again to a rich, memorial repository of past places and being, and concludes as an ironic meditation on age and change.

Just as Dylan Thomas was able to speak life into the sensuous world of his poetry, so does Marc Zegans have that same power. Sometimes his voice has the mellow richness of butter; at other times it thrusts urgently forward into thickets of spiked rhythm. At all times the delivery matches the poem perfectly. Perhaps the only one who should be permitted to read aloud the poetry of Marc Zegans is Zegans himself.

Nightwork makes a powerful case that spoken-word albums can be every bit as exciting as musical ones. One hopes that it is the harbinger of a revolution in the presentation of poetry, and that other poets will be tempted to follow the lead of Marc Zegans.

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