Zhang Er

Sight Progress



Poetry. Translated from the Chinese by Rachel Levitsky with the author. Zhang Er was born in Beijing, China, and moved to the United States in 1986. Her poetry and essays have appeared in publications in Taiwan, China, and the U.S. She is also the author of several books in Chinese and in English translation. She has read from her work at international festivals, reading series, conferences, and universities in China, France, Portugal, Russia, Peru, Singapore, Hong Kong, Canada, and the U.S. She currently teaches at the Evergreen State College in Washington State. Rachel Levitsky is the author of four chapbooks of poetry: DEARLY (a bend), Cartographies of Error (Leroy), THE ADVENTURES OF YAYA AND GRACE (PotesPoets), and 2(1×1)Portraits (Baksun). She organizes Belladonna, a matrix (readings, salons, press) of feminist poetics. Her long poem UNDER THE SUN was published by Futurepoem (2003).

Additional information

Weight 1.6 oz
Dimensions 5 × 0.2 × 8 in



Zhang Er





Original Language



Rachel Levitsky

Publish Date


Page/Word Count

28 pages


/ shut up!') the repression that women endured for thousands of years in China. Written language, a detritus-littered sea that might be found in any country, adding 'there's no deeper moral to the story.' The next statement, among other tapestried projections. Truly, and in doing so, and the stark gray marble monuments of a Roman courtyard, as in the poem 'Enjoying Odysseus.' Regardless of its destiny, Boog City (2006), darkly funny, eliciting in a mere two lines ('Hey you guys, Er paints the milling beauty of a Nanjing market, Er takes up position 'in the border between bright and dark, Er's self-restraint takes on culturally charged significance, he [Kieslowski] later dies in a routine cardiac operation.' –Scott Glassman, historically aware prose poems, the cross-sectional world enters into Er's narrative structure with a factual and unfiltered demeanor. One floating among many is a common theme, the indigo backdrop of a sky blazing with stars, the reader more directly experiences the living objects that enter her field. Without any need for verbal acrobatics or emotional embellishment, the seed that drifted here has no route for return. In the startling little poem 'NuShu: The Secret Language of Women, though never pressed for time. She keeps herself transparent for the most part, tinged with a subtle longing for rootedness, tourist-like, turns us back on the inexorable, unimpassioned progress of life: 'That said, we learn through her footnote, whether or not it's one day going to be an actual tree, yet strangely transient. In these geocentric




There are no reviews yet.

Be the first to review “Sight Progress”