Guerrero has always written pointedly with a sharp pen and a sharp knife always at the ready. In her first full-length collection, these dazzling, edgy, irascible poems lean into their sweet natural bristling air, stitching and stretching image to image. This is the singing blue glory of language at its best. -Nikky Finney, author of Head Off & Split, winner of The National Book Award
Guerrero writes in a language of the body, visceral, almost unbearably vivid, the language of a poet who knows how to work with her hands. In an age when so many poems say nothing, these poems miss nothing . . . attention must be paid to such a poet now and for years to come. -Martin Espada, author of The Trouble Ball
In poems crafted with tremendous skill, Laurie Ann Guerrero's A Tongue in the Mouth of the Dying explores, so often, the ways in which the colonized or poor or brown have been brutalized, and their stories written by the conquerors. But the wonderful discovery one makes while reading what's often painful and heartbreaking is that Guerrero's the one telling us. In other words, the re-writing is begun. This is a powerful, necessary book. -Ross Gay, author of Bringing the Shovel Down
. . . Guerrero's poems locate the life-giving power of verbal expression in the mouths of disenfranchised speakers. . . . Centered as it is around hard-working women, Guerrero's collection resists definition by class and color, even sex. For when she writes of womanhood, the variables of motherhood and marital status force us to see her speakers in their most vulnerable light. Yet these verses of germination and carrying, of labor and production, deliver us to a place of potent ferocity . . . -Booklist Online
A Tongue in the Mouth of the Dying is populated by these daughters, women who defy and trouble long-held assumptions about, and expectations of, motherhood and maternal behavior: here, mothers take lovers, make war, cause damage-'make carnage of [their] own mouth[s].' And they also write daring poems that break with polite and romanticized representations of femininity, situating the woman as the source of her own volition, a daunting force to be reckoned with. -Los Angeles Review of Books
Guerrero's poems weave in and out of light and shadow, good and evil, the sublime and the sorrowful, creating a tapestry that is wholly Texas. . . . A Tongue in the Mouth of the Dying evokes the mysteries of a people-Mexicans and Texas Mexicans alike-who have the power to astonish with their fortitude, or disillusion with their inexperience; the beauty of Guerrero's collection is its ability to do both so fluidly. -Texas Books in Review
