Link to Catherine Daly's review in Moria Poetry Magazine
from Publishers Weekly:
. . . Uxudo—a word, we're told, produced by computer error, and . . . the only non-"real" word here—invites the reader into a world of . . . semantic and phonologic echoes, an effect furthered by being grafted onto video stills . . .
Anne Tardos’s Uxudo combines extreme sophistication with great warmth. By using the linguistic, the filmic, the nonlinear, her surface becomes dimensional, what I want to call an acute net, in the sense of crossings. Time and mourning support from the outside. This is exciting and tremendously moving.
Uxudo, a gift from technology, illuminated manuscript. Illuminated not as in “illustrated,” but luminous, interactive in a sense that Blake would have understood. Or Zukofsky: that language is eyes. Ears, echoes. That, in fact, language itself, in our time certainly, must always be plural: a system of differences, midrashim to an Ur-text that never existed but perpetually surrounds us. Place exists, but entirely as displacement. These marvelous works reveal our time with remarkable precision, generosity and wit. Anne Tardos sees, hears, writes, films, acts with a clarity that is breathtaking:
Ivan was terrible.
Who am I really?
Anne Tardos is an extaordinary poet and visual artist who grew up in four languages—French, Hungarian, German, and English. This did not confuse her at all. Instead it fed her sonne & licht sense of humor. Uxudo has many dimensions. It is faux autobiography of the truest kind. It is language play without rival—a transgeneric play of trans: (plug in suffix) -gression, -(e)lation, -formation, -figuration. From wonderful near-paradox like “The audience’s willingness to be amused is not to be taken lightly” to the compound intelligence of “unique promise-foam,” “oh-deed on laudanum,” and “Räuberträume follitude” Uxudo is another Tardos tour-das-wunderbare!