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“Stern’s unadorned craftsmanship has few rivals in American letters.”—Philadelphia Inquirer Early Collected Poems gathers the poems from the first six books of Gerald Stern’s body of work. A master poet, Stern has sought new language for the overlooked, neglected, and unseen facets of human experience. Whether writing about modern poets, Hebrew prophets, death, war, or love, “Stern’s literary songs are sharp, surprising, and unerring in their delivery” (Ploughshares, Editor’s Choice). from “The Red Coal” The coal has taken over, the red coal is burning between us and we are at its mercy— as if a power is finally dominating the two of us; as if we’re huddled up watching the black smoke and the ashes; as if knowledge is what we needed and now we have that knowledge. Now we have that knowledge.
Offers new interpretations of poems by Milton, Jonson, Herrick, and Lovelace, and looks at five themes in seventeenth century English poetry.
In his poetry Gerard Manley Hopkins (1844 89) sought to discover afresh the potentialities of language, and to that end developed his idiosyncratic theories of instress, inscape and sprung rhythm. Hopkins's verse is also informed by his religious beliefs; having converted to the Roman Catholic Church in 1866, he became a Jesuit priest eleven years later. However, his poetry is free from a sense of religious dogma, and instead offers a whole hearted involvement with all aspects of life, a love of nature and a search for a unifying sacramental view of creation. His best known poems include 'The Wreck of the Deutschland', 'The Windhover', 'Pied Beauty', 'Spring and Fall', 'Carrion Comfort' and 'Harry Ploughman'.
"Stern's bebop poems shimmer and shadow-dance down the page."—Booklist
Fifty-nine "Stern sonnets" of twenty or so lines from the 1998 National Book Award winner. This stunning collection moves from autobiography to the visionary in surges of memory and language that draw the reader from one poem to the next. "I was taken over by the writing of these poems," Stern says.
The fifteenth collection by a celebrated poet whose "terrific, boisterous energy has never flagged" (Megan Harlan, San Francisco Chronicle). In Save the Last Dance, Gerald Stern gives us a stunning collection of his intimately personal—yet always universal, and always surprising—poems, rich with humor and insight. Shorter lyric poems in the first two parts continue the satirical and often redemptive vision of his last collection, Everything Is Burning, while never failing to carve out new emotional territory. In the third part, a long poem called "The Preacher," Stern takes the book of Ecclesiastes as a starting point for a meditation on loss, futility, and emptiness, represented here by the concept of a "hole" that resurfaces throughout.
With a nod toward the grounding inspiration of Mark Twain and James Baldwin in its opening epigraphs, this lush collection of free and formal verse—turning on multiple axes of race, religion, history, politics, and social issues—soars in exploration of the dark, troublesome visions of America. Gerald Barrax, “a black poet who makes familiar black attitudes agonizingly fresh” (Library Journal), speaks with ire and passion of those robbed—and those who rob them—of hope, of sight, of faith, of life. “Ask the West African what happened to his ancestors. / Ask the Native American what happened to his land. / Ask the Person Sitting in Darkness what happened to his light.” But Barrax also croons—about the natural world and its creatures, about music, and about human love and relationships. “Cello Poem,” Dennis Sampson wrote in the Hudson Review, “is an erotic love poem of flesh-and-blood so artfully told one scarcely knows the difference between the cello at the end and the remembered lovers.” And in “The Old Poet Is Taken in Marriage,” Barrax displays an endearing capacity for gentleness and surprise. “Poets who swagger and strut make me sick / with envy,” he writes, “while yet I marvel, in terrified humility, / that poems come to me at all, as Emily / did, for no reason I can understand.” Through the unswerving perspective of a black man, Barrax widens the human experience, achieving a universality of tone. His poems find words for real feelings, and the color of a lover’s skin is, ultimately, not very important. One hundred four poems in all, eighteen penned since his last book, From a Person Sitting in Darkness showcases Barrax’s gifts for arresting imagery and compression, crystalline diction and dichotomy, narrative force, and the leavening touches of humor and irony. This collection is the essence of a lyrical, sensual, unpredictable work.
Poetry. The world is sensuously and immediately present in Gerald Fleming's SWIMMER CLIMBING ONTO SHORE. While these poems question the capacity of language to render the heart of human existence, the poet's words never fail to praise the transformative power of art in making sense of that existence. "Love is the catalyst, but so also is wit, unexpected and inexorably delivered," says Diana O Hehir of this collection. "In a voice of condensed, colloquial intimacy sobered by awareness of the world's menace and acknowledging the irrational in himself, [Fleming] reaches a high compassionate humor as he infuses his exploration with the surprising pleasure of sudden discovery"--Jack Marshall.
Finalist for the 2021 PEN/Voelcker Award for Poetry Collection An illuminating and irascible compilation of selected and new poems from National Book Award winner Gerald Stern. For five decades, Gerald Stern has been writing his own brand of expansive, deep-down American poetry. Now in his nineties, this “sometimes comic, sometimes tragic visionary” (Edward Hirsch) engages a lifetime of memories in his poems, blending philosophical, wide-ranging intellect with boisterous wit. Memory unites the poems in Blessed as We Were, which reach back through seven collections written over almost two decades. Stern explores casual miracles, relationships, and the natural world in Last Blue (2000); offers a satirical and redemptive vision in Everything Is Burning (2005) and Save the Last Dance (2008); meditates on the metamorphosis of aging in In Beauty Bright (2012); and captures the sensual joys of life—even when they are far in the past—in the wistful love poems and elegies of Galaxy Love (2017). The volume concludes with over two dozen new poems that combine the metaphysical with the domestic, from the passage of time and the cost of love to the profound banality of cardboard and its uses. With his characteristic exuberant, oracular voice animating every line, Stern reminds us why he is one of the great American poets, one who has long “been telling us that the best way to live is not so much for poetry, but through poetry” (New York Times Book Review).