Michael Boughns City is explicit in its celebration of the urban as a pumping heart with architecture. Boughn approaches the common with an open language knowing full well that some who share the space may not understand. His Walden is a full-canopied forest of neighbourhoods within and around which true solace is found, but only after much searching.
Victor Coleman
City?mirrors the souls own anthems, landmarks, apparitions and traffic jams. William Blake would be at home in Michael Boughns tough and devilish town, apocalyptic in its?ferocious litanies?and?bellicose arsenals,?its?grinding insistent engine roar ruling out nothing,?in the midst of which an ironic I, both innocent and experienced, detects?a gently scented boudoir, green and hilly resolutions.?City hums/with a sudden inoperable thrill,?and even at the end of the world, songs pour / out someones hidden window.
Billie Chernicoff
City profiles el dorados detritus, those scattered shapes that suggest themselves in bullet-like periodicity as we try to make sense of our desire for a shining city. Mike Boughns method in chronicling the emerging pathogens of imaginable substance is to riff relentlessly, measuring the multiple traffic of the cities words and their possibly unattainable story. The poetic narration in this series operates as a kind of cloaking device, surprising our assumptions with its anti-spatiality from those mouths at the edge of the sky. This poem from the end of the world is an intense and provocative call to give shape to the earth.
Fred Wah