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Honored in "Best Books of the Year" listings from The New Yorker, National Public Radio, Library Journal, and The Huffington Post. "One With Others represents Wright's most audacious experiment yet."—The New Yorker "[A] book . . . that defies description and discovers a powerful mode of its own."— National Public Radio "[A] searing dissection of hate crimes and their malignant legacy."—Booklist Today, Gentle Reader, the sermon once again: "Segregation After Death." Showers in the a.m. The threat they say is moving from the east. The sheriff's club says Not now. Not nokindofhow. Not never. The children's minds say Never waver. Air fanned by a flock of hands in the old funeral home where the meetings were called [because Mrs. Oliver owned it free and clear], and that selfsame air, sanctified and doomed, rent with racism, and it percolates up from the soil itself . . . In this National Book Award finalist and National Book Critics Circle Award finalist, C.D. Wright returns to her native Arkansas and examines explosive incidents grounded in the Civil Rights Movement. In her signature style, Wright interweaves oral histories, hymns, lists, interviews, newspaper accounts, and personal memories—especially those of her incandescent mentor, Mrs. Vittitow—with the voices of witnesses, neighbors, police, and activists. This history leaps howling off the page. C.D. Wright has published over a dozen works of poetry and prose. Among her honors are the Griffin Poetry Prize and a MacArthur Fellowship. She teaches at Brown University and lives outside of Providence, Rhode Island.
The haunting collection of poems that gathers the first four books of Pulitzer winner Franz Wright under one cover, where “fans old and new will find a feast amid famine” (Publishers Weekly), and discover how large this poet’s gift was from the start.
"Wright proves herself to be one of the most complex and fascinating poets writing today." -Library Journal
"Through more than a dozen collections, C.D. Wright pushed the bounds of imagination as she explored desire, loss and physical sensation. Her posthumously published book, ShallCross features seven poem sequences that show her tremendous range in style and approach. As she considers, among other topics, some dark intuitions about human nature, she also nudges readers to question who is telling the story and where one’s thought can lead."—The Washington Post "Wright gets better with each book, expanding the reach of her art; it seems it could take in anything."—Publishers Weekly "Wright belongs to a school of exactly one."—New York Times Book Review "C.D. Wright is entirely her own poet, a true original."—The Gettysburg Review In a turbulent world, C.D. Wright evokes a rebellious and dissonant ethos with characteristic genre-bending and expanding long-form poems. Accessing journalistic writing alongside filmic narratives, Wright ranges across seven poetic sequences, including a collaborative suite responding to photographic documentation of murder sites in New Orleans. ShallCross shows plain as day that C.D. Wright is our most thrilling and innovative poet. From "Obscurity and Elegance": Whether or not the park was safe she was going in. A study concluded, for a park to be successful there had to be women. The man next to the monument must have broken away from her. Perhaps years before. That the bond had been carnal is obvious. He said he was just out clearing his head… C.D. Wright (1949-2016) taught at Brown University for decades and published over a dozen works of poetry and prose, including One With Others, which won the National Book Critics Circle Award and was nominated for a National Book Award; One Big Self: An Investigation; and Rising Falling Hovering. Among her many honors are the Griffin International Poetry Prize and a MacArthur Fellowship.
"Wright shrinks back from nothing."—The Village Voice "Wright belongs to a school of exactly one."—The New York Times Book Review "Wright has found a way to wed fragments of an iconic America to a luminously strange idiom, eerie as a tin whistle."—The New Yorker "C.D. Wright is one of America's oddest, best, and most appealing poets."—Publishers Weekly A companion to her astonishing collection of prose Cooling Time, C.D. Wright argues for poetry as a way of being and seeing, and calls it "the one arena where I am not inclined to crank up the fog machine." Wright's passion for the genre is pure inspiration, and in her hands the answer to the question of poetry is poetry. From "In a Word": I love the nouns of a time in a place, where a sack once was a poke and native skag was junk glass not junk and junk was just junk not smack and smack entailed eating with your mouth open, and an Egyptian one-eye was an egg, sunny side up, and a nation sack was a flannel amulet, worn only by women, to be touched only by women, especially around Memphis. Red sacks for love and green for money… C.D. Wright's most recent volume, One With Others, was a National Book Award finalist. Among her many honors are the Griffin Poetry Prize and a MacArthur Fellowship. She teaches at Brown University and lives outside of Providence, Rhode Island.
In this luminous new collection of poems, Franz Wright expands on the spiritual joy he found in his Pulitzer Prize-winning Walking to Martha’s Vineyard. Wright, whom we know as a poet of exquisite miniatures, opens God’s Silence with “East Boston, 1996,” a powerful long poem that looks back at the darker moments in the formation of his sensibility. He shares his private rules for bus riding (“No eye contact: the eyes of the terrified / terrify”), and recalls, among other experiences, his first encounter with a shotgun, as an eight-year-old boy (“In a clearing in the cornstalks . . . it was suggested / that I fire / on that muttering family of crows”). Throughout this volume, Wright continues his penetrating study of his own and our collective soul. He reaches a new level of acceptance as he intones the paradox “I have heard God’s silence like the sun,” and marvels at our presumptions:We speak of Heaven who have not yet accomplishedeven this, the holiness of things precisely as they are, and never will!Though Wright often seeks forgiveness in these poems, his black wit and self-deprecation are reliably present, and he delights in reminding us that “literature will lose, sunlight will win, don’t worry.”But in this book, literature wins as well. God’s Silence is a deeply felt celebration of what poetry (and its silences) can do for us.
The authorized and sweeping biography of one of America’s most complex, influential, and enduring poets In the extraordinary generation of American poets who came of age in the middle of the twentieth century, James Wright (1927–1980) was frequently placed at the top of the list. With a fierce, single-minded devotion to his work, Wright escaped the steel town of his Depression-era childhood in the Ohio valley to become a revered professor of English literature and a Pulitzer Prize winner. But his hometown remained at the heart of his work, and he courted a rough, enduring muse from his vivid memories of the Midwest. A full-throated lyricism and classical poise became his tools, honesty and unwavering compassion his trademark. Using meticulous research, hundreds of interviews, and Wright’s public readings, Jonathan Blunk’s authorized biography explores the poet’s life and work with exceptional candor, making full use of Wright’s extensive unpublished work—letters, poems, translations, and personal journals. Focusing on the tensions that forced Wright’s poetic breakthroughs and the relationships that plunged him to emotional depths, Blunk provides a spirited portrait, and a fascinating depiction of this turbulent period in American letters. A gifted translator and mesmerizing reader, Wright appears throughout in all his complex and eloquent urgency. Discerning yet expansive, James Wright will change the way the poet’s work is understood and inspire a new appreciation for his enduring achievement.
Emerging from society's most hidden and reviled structures is a poetry of majestic, riveting intensity.
From the indomitable Franz Wright, a luminous book of reconciliation with the past and acceptance of what may come in the future. From his earliest years, he writes in Will, he had the gift of impermanence / so I would be ready, / accompanied / by a rage to prove them wrong . . . that I too was worthy of love. This rage comes coupled with the poet's own brand of love, what he calls one / strange alone / heart's wish / to help all / hearts. Poetry is indeed Wright's help, and he delivers it to us with a wry sense of the daily in America: in his wonderfully local relationship to God (whom he encounters along with a catfish in the emerald shallows of Walden Pond); in the little West Virginia motel of the title poem, on the banks of the Ohio River, where Tammy Wynette's on the marquee and he is visited by the figure of Walt Whitman, examining the tear on a dead face. In Wheeling Motel, Wright's poetry continues to surprise us with its frank appraisal of our soul, with his combustible loneliness and unstoppable joy. At 54 An instant of lucidity, an hour outside of time, a life-- I glance at the left hand unclenched in the sunlight shining on my desk and think of my friend's recent cremation-- that takes a while. And I can't wait to return to this chair in which I am sitting, this world, the one where each object stands for nothing at all but its own inexplicable existence.