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Come feel the cool and shadowed breeze, come smell your way among the trees, come touch rough bark and leathered leaves: Welcome to the night. Welcome to the night, where mice stir and furry moths flutter. Where snails spiral into shells as orb spiders circle in silk. Where the roots of oak trees recover and repair from their time in the light. Where the porcupette eats delicacies—raspberry leaves!—and coos and sings. Come out to the cool, night wood, and buzz and hoot and howl—but do beware of the great horned owl—for it’s wild and it’s windy way out in the woods!
A decade after the sudden and tragic loss of his father, we witness the unfolding of grief. “In the night I brush / my teeth with a razor,” he tells us, in one of the collection’s piercing two-line poems. Capturing the strange silence of bereavement (“Not the storm / but the calm / that slays me”), Kevin Young acknowledges, even celebrates, life’s passages, his loss transformed and tempered in a sequence about the birth of his son: in “Crowning,” he delivers what is surely one of the most powerful birth poems written by a man, describing “her face / full of fire, then groaning your face / out like a flower, blood-bloom,/ crocused into air.” Ending this book of both birth and grief, the gorgeous title sequence brings acceptance, asking “What good/are wishes if they aren’t / used up?” while understanding “How to listen / to what’s gone.” Young’s frank music speaks directly to the reader in these elemental poems, reminding us that the right words can both comfort us and enlarge our understanding of life’s mysteries.
West Virginia native Cole Freeman, who has avoided a coal-mining job by working as a nursing home aide and reselling unused prescription drugs, finds his life changing when a disastrous threat forces him to confront his fears.
"Blue Hour is an elusive book, because it is ever in pursuit of what the German poet Novalis called 'the [lost] presence beyond appearance.' The longest poem, 'On Earth,' is a transcription of mind passing from life into death, in the form of an abecedary, modeled on ancient gnostic hymns. Other poems in the book, especially 'Nocturne' and 'Blue Hour,' are lyric recoveries of the act of remembering, though the objects of memory seem to us vivid and irretrievable, the rage to summon and cling at once fierce and distracted. "The voice we hear in Blue Hour is a voice both very young and very old. It belongs to someone who has seen everything and who strives imperfectly, desperately, to be equal to what she has seen. The hunger to know is matched here by a desire to be new, totally without cynicism, open to the shocks of experience as if perpetually for the first time, though unillusioned, wise beyond any possible taint of a false or assumed innocence." -- Robert Boyers
Named one of the outstanding translations of 1996 by the American Literary Translators Association. One of the greatest figures in Central American letters of this century. His genius is transcendent. --Arturo Arias. [Dalton's poetry illustrates] his profound conviction that the poet can and must, in his life as in his work, serve as the finely-honed scalpel of change, both in word and deed. --Claribel Alegría. This man's work hits me harder than springtime. --E. Ethelbert Miller. A great gift to American poetry. --The Boston Globe.
Somber poems deal with the end of summer, winter dawn, travel, mortality, childhood, education, nature and the spiritual aspects of life.
A world list of books in the English language.
Winner of the Believer Book Award The triumphant follow-up collection to The Game of Boxes, winner of the James Laughlin Award Catherine Barnett’s tragicomic third collection, Human Hours, shuttles between a Whitmanian embrace of others and a kind of rapacious solitude. Barnett speaks from the middle of hope and confusion, carrying philosophy into the everyday. Watching a son become a young man, a father become a restless beloved shell, and a country betray its democratic ideals, the speakers try to make sense of such departures. Four lyric essays investigate the essential urge and appeal of questions that are “accursed,” that are limited—and unanswered—by answers. What are we to do with the endangered human hours that remain to us? Across the leaps and swerves of this collection, the fevered mind tries to slow—or at least measure—time with quiet bravura: by counting a lover’s breaths; by remembering a father’s space-age watch; by envisioning the apocalyptic future while bedding down on a hard, cold floor, head resting on a dictionary. Human Hours pulses with the absurd, with humor that accompanies the precariousness of the human condition.
"The Book of hours, written in three bursts between 1899-1903, is Rilke's most formative work, covering a crucial period in his rapid ascent from fin-de-siecle epigone to distinctive modern voice. The poems are crucial documents of Rilke's development, from his tour around Russia with Lou Andreas-Salome, through his hasty marriage to Clara Westhoff in the artists' community of Worpswede, to his turn toward the urban modernity of Paris. Rilke assumes the persona of an artist-monk undertaking the Romantics' journey into the self, speaking to God as part transcendent deity, part needy neighbor. Echoes of his juvenile style persist, yet by the end of the book the influence of the sculptor Rodin is discernible in the distinctive idiom of urbanity, in the terminology of "things," and in Rilke's turn to the everyday world around him."--Jacket flap.