In the Garden of the Bridehouse
Turning the page into a visual field, as in the deconstructed musical score telling the tale of La Llorona, In the Garden of the Bridehouse questions the line between visual art and poetry. The work employs the vernacular, the stylized language of theory, and the blank canvas of the page in its exploration of the known and unknowable.
Throughout the work, Martinez paradoxically exercises both a lyrical minimalism and a baroque poetic, uniting Mesoamerican preconquest imaginary with the sensuality of the Biblical Song of Songs, cultivating a lyrical space wherein contrasting potentials are—as one—realized in their shared promise.
"A precarious altar. A mythopoeic, fractal grafting. In the Garden of the Bridehouse reseeds myths, languages, Americas."—Joe Hall, author of The Devotional Poems
“Self-portraits as anima, time-travel, wounded swans, In the Garden of the Bridehouse is a mutilated garden of Eden, one that more accurately represents our gender fractures, our material desires, our fall, and our arrival as song.”—Andrea Rexilius, author of Half of What They Carried Flew Away
“Poems scatter across the page in starburst shape, with fragments often disconnected spatially and syntactically. Pay attention, though, and you'll hear the music (some of the poems are even musical scores) and see the glowing, tactile beauty in these intensive pieces.”—Library Journal