SUMMARY

Unspooling from a mysterious and deeply discomforting encounter between the speaker and K, THE ONLY NAME WE CAN CALL IT NOW IS NOT ITS ONLY NAME slowly morphs into a long and impossibly personal examination of willfulness and ownership, mother tongue and mother earth, chronic illness (of body and soil), homelessness and exile, violence and place, severance and longing, private parts and public spaces, intimacy and institution, affliction and ardor, performativity, faciality, vernaculars, voice, filth, instinct, and clowning. Written in a suspended moment when Hsiung experienced a profound crisis of silence in her life, what begins as a truly hybrid interrogation of an interrogation between student and teacher contorts into an entangled and incantatory excavation of the origins of a poet's psyche and relationship with the world itself. A work that was not composed but decomposed by way of worms and flies and a hazardous exposure to the elements of mythology, ecology, and epistemology, The only name we can call it now is not its only name is both a perennial coalescing convalescence between individual and societal specters and the tectonic documentation of a repeated attempt to endure.