“The essays in Jericho Parms’s Lost Wax read exquisitely as poems, each piece a lyrical moment resplendent with imagery. In a work punctuated by art and music, and tinged with drama and heartache, Parms retraces her steps through the family rooms of her youth, across the galleries of adulthood, to create a portrait of a cultured life borne out of curiosity and relentless wonder.”
—Rigoberto González, author of Butterfly Boy: Memories of a Chicano Mariposa
"In Lost Wax, Jericho Parms offers her readers an intricate map of her coming of age. Loosely chronological and spanning Parms's early life (in the 1980s and 1990s) to her adulthood in the present day, her essays are surfaced, textured, raised, in relief. Home and away have deeply marked her."
"The author offers beautiful reflections on memory, art, identity, and living within the interstices of the world, and she provides many gems of observation and expertly crafted metaphors and similes. Along the way, Parms also injects the book with an array of arresting historical, cultural, and aesthetic asides. As an artist and a person, what Parms desires most of all is 'to soak everything in,' and as she does so, we find her to be a perceptive, unsettling, and surprisingly endearing guide."
"Following the inspiration for this book’s title, the lost wax method for making cast sculpture, the essays in Parms’s delicately molded collection find their form and meaning through meditations on containers and absence. She writes about journeys and distance, freedom and captivity, the losses of pets and people, and 'how material textures enclose our living impulses.' Parms’s prose is as elegant and studied as the classical sculpture she admires, making wonderful leaps and astonishing juxtapositions through which her precise, startling images emerge like etchings on glass."
For her collection Lost Wax, Jericho Parms borrows her title from a casting method used by sculptors. As such, these eighteen essays, centered on art and memory, offer an investigation into form and content and the language of innocence, experience, and loss. Four sections (each borrowing names from the sculptures of Degas, Bernini, and Rodin) frame a series of meditations that consider the boundaries of the discernible world and the extremes of the body and the self. Here Parms draws heavily on memories of a Bronx upbringing in the 1980s and 1990s; explorations in Spain, Portugal, Ireland, and the American West; the struggle to comprehend race, love, family, madness, and nostalgia; and the unending influence of art, poetry, and music.
Written largely within the galleries of the Metropolitan Museum of Art, Lost Wax is an inquiry into the ways we curate memory and human experience despite the limits of observation and language. In these essays, Parms exhibits and examines her greatest obsessions: how to describe the surface of marble or bronze; how to embrace the necessary complexities of identity, stillness and movement, life and death—how to be young and alive.
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