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New poetry from the winner of the Bollingen Prize in Poetry, a Lifetime Achievement Award from the Before Columbus Fdtn., and a Lannan Foundation Lifetime Achievement Award.
By any measure—international reputation, influence upon fellow writers and later generations, number of books published, scholarly and critical attention—Robert Creeley (1926–2005) is a literary giant, an outstanding, irreplaceable poet. For many decades readers have remarked upon the almost harrowing emotional nakedness of Creeley’s writing. In the years since his death, it may be that the disappearance of the writer allows that nakedness to be observed more readily and without embarrassment. Written by the foremost critics of his poetry, Form, Power, and Person in Robert Creeley’s Life and Work is the first book to treat Creeley’s career as a whole. Masterfully edited by Stephen Fredman and Steve McCaffery, the essays in this collection have been gathered into three parts. Those in “Form” consider a variety of characteristic formal qualities that differentiate Creeley from his contemporaries. In “Power,” writers reflect on the pressure exerted by emotions, gender issues, and politics in Creeley’s life and work. In “Person,” Creeley’s unique artistic and psychological project of constructing a person—reflected in his correspondence, teaching, interviews, collaborations, and meditations on the concept of experience—is excavated. While engaging these three major topics, the authors remain, as Creeley does, intent upon the ways such issues appear in language, for Creeley’s nakedness is most conspicuously displayed in his intimate relationship with words. Contributors Charles Altieri Rachel Blau DuPlessis Stephen Fredman Benjamin Friedlander Alan Golding Michael Davidson Steve McCaffery Peter Middleton Marjorie Perloff Peter Quartermain Libbie Rifkin
A critical retrospective of Creeley's work from 1952 to 1982
If youth asks the mirror, "Am I the fairest?" then age, in Robert Creeley's voice asks, "Do you remember me?" And the poems of Life & Death are the mirror's answers: a collage of recollection and salvage, a gathering-in before winter's night. The first section, "Histoire de Florida," is a partial autobiography at a specific time and place. It captures the poet in an engaged and highly compacted moment that deliberately echoes Wallace Stevens's "The Anecdote of the Jar"--A reverberation from the poet's youth. The second section, "Old Poems, Etc.," contains classic reflections - from the doggerel humor of "'Present (Present)'" to parody of early Metaphysical models like George Herbert in "Echo's Arrow." The capstone of this section is the sustained "The Dogs of Auckland," which focuses impressions from an extended time spent in that city and becomes a resume of age and its effects, made vividly objective by the contrasting culture of New Zealand. Artists have always proved decisive company for the poet, and the third section contains the texts of three collaborations with the painter Francesco Clemente.
In his new collection of poems, Robert Creeley continues to explore the limits and resonances, public and personal, of age. Indeed, the title itself, Echoes, recurs throughout his poetry of the last two decades. Thus "Sonnets" speaks out against the waste of human violence and dogmatism ("Come round again the banal/belligerence almost a/flatulent echo of times"), while the book's closing sequence, "Roman Sketchbook", contemplates with wit and affection the measure of one's literal body in echoing time and place. Creeley as ever articulates the givens of life, its daily fact and possibility, with careful, concise invention. What wind's echo, uplifted spirit? Archaic feelings flood the body. Ah! accomplished.
By Robert Creeley and Elsa Dorfman.
Nonfiction. Poetics. "DAY BOOK OF A VIRTUAL POET provides a unique entrance into the ideas and practices--into the life, finally--of one of our great writers"--Burt Kimmelman. This unique book is a record of e-mail letters from Robert Creeley to high school students participating in an online honors poetry course. It explores the educational possibilities of a medium that has become second nature to people across the generations. Creeley: "All the tendentious proposals as to why write, ' in Pound's useful phrase, finally fade to the one point W.C. Williams made by saying, Why don't we tell them it's fun?' Not just the authority of endless revisions, not just the lists of publications or prizes won, not just the company of poets of public record--just fun. Fun. Fun.... I don't think a book has so pleased me in years, just that it came so unintentionallyto hand. More than anything else, it was a place to say a great many things as a poet, to make clear what I valued...to keep the faith in my own way."
Letters written during the spring and summer of 1951 convey the artistic concerns of the two writers and share commentary on their poems and essays in progress.