Return Flight (Ballard Spahr Prize)

In her collection of poems Return Flight, The poet Jennifer Huang forms her vision, embedded in the discourse, through the empathic relationship between the speaker and the sign belonging to nature, loud colors, dreamy creatures, or characters of literature computer games, and mythical creatures that are semiotically formed or transformed in the pluralistic cognitive structure of the scene in an experimental poetic context.

Therefore, the poet’s discourse suggests the speaker’s construction of a set of mental representations that confirm the pluralistic structure of the dreamy daily scene, as well as the creative interaction between simplicity and complexity; For example, in a haiku text, the natural color scarlet turns into a group of dynamic abstract shades in the self inner journey.

Consequently, the speaker, in the collection of haiku poems, refers to the relationship between the natural daily scene and its inner aesthetic impact that the image of the purple spot is related to the inner loudness and the flood of life; As for the silent hand gestures, they also signify the loud and hidden sound of the character, representing the renewal of the stream of life. While the mouth is associated with the figurative opening of the body; As for the scarlet color, it denotes the tone of inner abundance that paves the way for the production of a new narrative and semiotic interpretations of Being.

In addition to the above, Jennifer Huang, in her poetic discourse, celebrates the perceptual plurality of the other through creative metaphorical embodiments that consist of the vast space between the self and the other; such as the image of a bull with a human face, the Pac-Man electronic game character in her poem Manifest, and representations of a clown-like character in tales and films or a character The poet calls it the sunfish in her poem Notes on Orange. She also refers to a group of semiotic transformations that go back to the virginity of the first awareness of the world's creatures and its transformed signs; Like a shark regenerating in her poem That Dawn at the beach; The poet then celebrates the plurality of allegorical representations that reflect the abundance of worlds and inner depth. Also, we conclude that the poet’s discourse includes a deductive argument that asserts the richness of the self-perceptual world.

Finally, I think that the poet presented an experimental, spatial perspective of the vast space in her poem After the Storm that she referred to the space of large stairs in the context of the repetition of the act of aesthetic mimicry and the father’s tales; And then the space of the long stairs becomes pluralistic, referring to the world of the unconscious, the world of the tale, and the rich world of the characters of literature.