"A sequel of sorts to "Ziggurat," published in the Phoenix Poets series in 2010, the title poem from "Ozone Journal" recounts the memory of the speaker's excavating the bones of Armenian genocide victims in the Syrian desert with a TV journalist crew in 2009. The speaker "dreams back," as it were, to the 1980s, when, as a young man in his thirties and caring for a young daughter after a recent divorce, he is having to juggle both personal and cultural/historical complexities living as a single parent in Manhattan. The poems create a montage that has the feel of history as lived experience, with the speaker struggling with the nature of memory as the poems move constantly back and forth to the Syrian desert, the dissolution of his marriage, visits and conversations with a cousin dying of AIDS, and encounters with famous jazz producers at Columbia Records to discuss music. In this book, Peter Balakian aims at the bigger picture of humanity's history of atrocity and trauma, but through sh

"Peter Balakian's "No Sign," the centerpiece of this book, is the third multi-sequenced long poem in a trilogy begun in "A-Train/Ziggurat/Elegy" (2010) and "Ozone Journal" (2015). The three poems follow a persona whose journey is informed by a series of experiences set in New York and the surrounding Jersey Cliffs from the 1970s to the present. In the mix of a dialogue between two lovers over decades, reminiscent of an eclogue updated via the film Hiroshima Mon Amour (1959), we see an evolution of kaleidoscopic memory-from the haunted history of the Armenian Genocide to the AIDS epidemic, to climate change and the erosion of the planet-that gives the trilogy a unique historical power and psychological depth. The poems in the trilogy are defined by inventive collage-like fragmentation and elliptical, granular language. In the tradition of the American long poem from Walt Whitman and Hart Crane to Charles Olson, Balakian has created something new, what one critic has called, "a panoramic