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If a picture paints 1000 words, "each letter contains 100 films" in the surrealist wordscape of The Tranquilized Tongue.
"The poems comprising The Tranquilized Tongue propose a unique blend of Persian miniature and habanero pepper. The book is aburst with unremitting predication, each poem a merciless thought machine."-Nathaniel Mackey
"For over a decade now, Eric Baus has been one of the leading practitioners of a new kind of poem, one that draws as equally on the legacy of surrealism, the nouveau roman, and even the language poets, as it does on the Deep Listening practice of Pauline Oliveros, Alvin Lucier's forays into resonant sound, the films of Charles and Ray Eames, and the voiceover of Sir David Attenborough narrating our insect and animal worlds. The Tranquilized Tongue speaks to us in a music capable of condensing geologic time into that of a microtonal interval: weird, warped, a little wobbly on its newly-hatched legs, this is a book where the word The will follow you like a gosling."-Noah Eli Gordon
"Special objects in our multiple world--from eggs to kings, from bees to caskets, from wings to statues--spawn themselves with other teeming objects in a fertile generation of aphoristic actions calmed by the clarity of prose poems framed as linked short stories. The scintillating tensions between febrile nouns, adjectival properties, and active claims all in their phonemic bliss create an elegant surrealism charged with the primary mystery of Baus's lexicon."—Rachel Blau DuPlessis, author of Drafts
"Eric Baus has always been a seering poet, creating language that means sound as much as it means anything, creating nothing out of anything and everything and vice versa. These poems start ringing through the glass of themselves as soon as you open the book and feel like the words of a tongue that has been tranquilized and is speaking to say why. A poem like 'The Molting Mouth' reads 'The word glass. / The word hand. / The word milk. / The word mirror.' In these four lines we are forced to see that a glass becomes a mirror only because we command it to, that we see our own reflection in poems only because the poet is kind enough, or cares enough, to command it to."-Dorothea Lasky, Poetry Magazine's Harriet Blog
"Eric Baus's fourth book, is his best yet ? Made as much of matter as of sound, [the poems are] an acoustical chamber where words, sounds, letters and images are constantly emerging, intermingling, echoing, and changing into other words, sounds, letters and images ? This is a world of unpredictable and miraculous change, a world that is simultaneously philosophical and alchemical, an inseparable mixture of factual propositions and flights of fancy ? Whereas Saussure believed that linguistic signs were immaterial, Baus posits that words are living beings."-John Lau, Hyperallergic
"The poems in Eric Baus's stunning fourth collection are best described as studies in scale ? The reader becomes a collaborator, a co-conspirator. And it is the book's minimalist approach that makes this refreshing, and in many ways, egalitarian relationship between the artist and his audience possible. In short, The Tranquilized Tongue is as thought-provoking as it is beautifully rendered. This is a fine addition to Baus's already accomplished and innovative body of work."-Kristina Marie Darling, Colorado Review
"Extending his ongoing book-length exploration of the prose poem, there aren't many poets who work the abstract book-length fragment in the way that Baus does, or so well, managing an anchor of concrete sentences that somehow accumulate into something larger and far more nebulous ? Through short, dense poems, Baus manages to utilize each sentence as a single point, accumulating those points into a far larger shape, one as much created by Baus as by each reader's experience."-Rob McLennan, The Small Press Book Review
