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“The idea of verse, of poetry, has always, during forty years spent working primarily in prose, stood at my elbow, as a standing invitation to the highest kind of verbal exercise—the most satisfying, the most archaic, the most elusive of critical control. In hotel rooms and airplanes, on beaches and Sundays, at junctures of personal happiness or its opposite, poetry has comforted me with its hope of permanence, its packaging of flux.” Thus John Updike writes in introducing his Collected Poems. The earliest poems here date from 1953, when Updike was twenty-one, and the last were written after he turned sixty. Almost all of those published in his five previous collections are included, with some revisions. Arranged in chronological order, the poems constitute, as he says, “the thread backside of my life’s fading tapestry.” An ample set of notes at the back of the book discusses some of the hidden threads, and expatiates upon a number of fine points. Nature—tenderly intricate, ruthlessly impervious—is a constant and ambiguous presence in these poems, along with the social observation one would expect in a novelist. No occasion is too modest or too daily to excite metaphysical wonder, or to provoke a lyrical ingenuity of language. Yet even the wittiest of the poems are rooted to the ground of experience and fact. “Seven Odes to Seven Natural Processes” attempt to explicate the physical world with a directness seldom attempted in poetry. Several longer poems—“Leaving Church Early,” “Midpoint”—use autobiography to proclaim the basic strangeness of existence.
John Updike's first collection of verse since his Collected Poems, 1953-1993 brings together fifty-eight poems, three of them of considerable length. The four sections take up, in order: America, its cities and airplanes; the poet's life, his childhood, birthdays, and ailments; foreign travel, to Europe and the tropics; and, beginning with the long "Song of Myself," daily life, its furniture and consolations. There is little of the light verse with which Mr. Updike began his writing career nearly fifty years ago, but a light touch can be felt in his nimble manipulation of the ghosts of metric order, in his caressing of the living textures of things, and in his reluctance to wave goodbye to it all.
Ferlinghetti has been telling the truth in poems for more than four decades, and every indication is that he will continue to be heard when all the pretenders have turned to witless stone. Certainly the more than 50 pages of new work included here with his own selections of earlier work continue to maintain the faith. Published by New Directions, 80 Eighth Avenue, New York, NY 10011. Annotation copyright by Book News, Inc., Portland, OR
Now in paperback: five decades of witty, intimate, and moving poems--written between 1953 and 2008--with the cumulative force of an autobiography in verse, by this master of American letters. Though John Updike is widely known as one of America's greatest writers of prose, both his first book and his last were poetry collections, and in the fifty years between he published six other volumes of verse. Here, Christopher Carduff has selected the best of his lifework in poetry: 129 of his most significant and accomplished poems, from precocious undergraduate efforts to frequently anthologized midcareer classics to dozens of later works in a form that Updike made his own, the blank-verse sonnet. Art, science, popular culture, foreign travel, erotic love, and the beauty of the man-made and God-given worlds--these recurring topics provided Updike ever-surprising occasions for wonder and matchless verbal invention. His Selected Poems is, as Brad Leithauser writes in his introduction, a celebration of American life in the second half of the twentieth century: "No other writer of his time captured so much of this passing pageant. That he did so with brio and delight and nimbleness is another reason to celebrate our noble celebrant."
Maurice Blanchot is a towering yet enigmatic figure in 20th-century French thought. Both his fiction and his criticism played a determining role in how postwar French philosophy was written. This volume collects his political writings from 1953 and 1993.
Yves Bonnefoy, celebrated translator and critic, is widely considered the most important and influential French poet since World War II. Named to the College de France in 1981 to fill the chair left vacant by the death of Roland Barthes, Bonnefoy was the first poet honored in this way since Paul Valery. Winner of many awards, including the Prix Goncourt in 1987 and the Hudson Review's Bennett Award in 1988, he is the author of six critically acclaimed books of poetry. Spanning four decades and drawing on all of Bonnefoy's major collections, this selection provides a comprehensive overview of and an ideal introduction to his work. The elegant translations, many of them new, are presented in this dual-language edition alongside the original French. Several significant works appear here in English for the first time, among them, in its entirety, Bonnefoy's 1991 book of verse, The Beginning and the End of the Snow, the 1988 prose poem Where the Arrow Falls, and an important long poem from 1993, "Wind and Smoke." Together with poems from such classic volumes as "In the Lure of the Threshold", these new works shed light on the growth as well as the continuity of Bonnefoy's work. John Naughton's detailed introduction looks at the evolution of Bonnefoy's poetry from the 1953 publication of "On the Motion and Immobility of Douve", which immediately established his reputation as one of France's leading poets, through the 1993 publication of The Wandering Life and its centerpiece "Wind and Smoke." "This is a comprehensive selection that contains examples of work spanning [Bonnefoy's] full career of forty years, from the ground-breaking "Du Mouvement et de l'Immobilité de Douve" through the celebratory "Pierre Ecrite" to the magical winter landscapes of America's East Coast and an unsettling reworking of myth in the recent "La Vie Errante" . . . The translations, which are the work of a variety of hands, including Galway Kinnell, Emily Grosholz and Anthony Rudolf, nevertheless fit well together and all are sensitive to the register and subtleties of both languages, while the introductory essay by John Naughton expertly explains Bonnefoy's importance as a poet and the influences which have shaped him. This is definitely a volume worth having, for layman and French specialist alike."—Hilary Davies, Times Literary Supplement "Anyone not familiar with Bonnefoy's work will benefit from the background information and explanations given by John Naughton in his excellent introduction . . . . The book as a whole provides an excellent introduction to Bonnefoy's poetry and to his concerns of a lifetime."—Don Rodgers, Poetry Wales
James Greene's acclaimed translations of the poetry of Osip Mandelshtam, now in an extensively revised and augmented edition.
Presenting the first interdisciplinary consideration of his political thought, Updike and Politics: New Considerations establishes a new scholarly foundation for assessing one of the most recognized and significant American writers of the post-1945 period. This book brings together a diverse group of American and international scholars, including contributors from Japan, India, Israel, and Europe. Like Updike himself, the collection canvases a wide range of topics, including Updike’s too often overlooked poetry and his single play. Its essays deal with not only political themes such as the traditional aspects of power, rights, equality, justice, or violence but also the more divisive elements in Updike’s work like race, gender, imperialism, hegemony, and technology. Ultimately, the book reveals how Updike’s immense body of work illuminates the central political questions and problems that troubled American culture during the second half of the twentieth century as well as the opening decade of the new millennium.
Saltzman reveals figuration to be both inevitable and inevitably unreliable, and he illustrates how these writers treat this condition not as an impasse but as a point of departure - indeed, as an artistic mandate and creative opportunity.".
Collects thirty-two interviews with the writer between 1959 and 1993.