The through line of Sunday with the Sound Turned Off is Werblin's voice that wavers not in its navigation of wavering states - of mind, location, and heart. Personal pronouns are not just protagonists here; they are also vehicles, allowing us to get from 'I tell you these songs go only so far' to 'you can majesty your ice-age excuses' to 'his human capacity for rain.' Finally, it is a lyrical relation to the self in the world, and the self with other selves, that this book allows us to enter and to hold. -- Barbara Cully, author of Under the Hours, Desire Reclining, and The New Intimacy
Andrea Werblin is a manuscript reviewer at Kore Press and the author of one previous book of poems, Lullaby for One Fist. Her work has appeared in BOOG Reader, EOAGH: A Journal of the Arts, The Massachusetts Review, and Smartish Pace. She works as a freelance copy director, and writes about neuroplasticity, extreme landscapes, amateur pastry-chef adventures, and stretch pants.
The through line of Sunday with the Sound Turned Off is Werblin's voice that wavers not in its navigation of wavering states--of mind, location, and heart. Personal pronouns are not just protagonists here; they are also vehicles, allowing us to get from 'I tell you these songs go only so far' to 'you can majesty your ice-age excuses' to 'his human capacity for rain.' Finally, it is a lyrical relation to the self in the world, and the self with other selves, that this book allows us to enter and to hold." - Barbara Cully, author of Under the Hours, Desire Reclining, and The New Intimacy
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