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"Richard Hugo's concern is the unenviable, the unvisited, even the uninviting, which he must invest with his own deprivations, his own private war. The distinctiveness of impulse int he language, the movement organized in single syllables by the craving mind, this credible richness is related to, is even derived from, the poverty of the places, local emanations, free (or freed) to be the poet's own." --Richard Howard "Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image." --Richard Howard
"Richard Hugo's concern is the unenviable, the unvisited, even the uninviting, which he must invest with his own deprivations, his own private war. The distinctiveness of impulse int he language, the movement organized in single syllables by the craving mind, this credible richness is related to, is even derived from, the poverty of the places, local emanations, free (or freed) to be the poet's own." --Richard Howard "Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image." --Richard Howard
Richard Hugo, whom Carolyn Kizer has called” one of the most passionate, energetic, and honest poets living,” here offers an extraordinary collection of new poems, each one a “letter” or a “dream.” Both letters and dreams are special manifestations of alone-ness; Hugo’s special senses of alone-ness, of places, and of other people are the forces behind his distinctively American and increasingly authoritative poetic voice. Each letter is written from a specific place that Hugo has made his own (a “triggering town,” as he has called it elsewhere) to a friend, a fellow poet, an old love. We read over the poet’s shoulder as the town triggers the imagination, the friendship is re-opened, the poet’s selfhood is explored and illuminated. The “dreams” turn up unexpectedly (as dreams do) among the letters; their haunting images give further depth to the poet’s exploration. Are we overhearing them? Who is the “you” that dreams?
Richard Hugo, who died suddenly in 1982, was, in James Wright's words, 'a great poet, true to our difficult life, ' Making Certain It Goes On brings together, as Hugo wished, the poems published in book form during his lifetime, together with the moving and courageous new poems he wrote in his last years. This, then, is the definitive collection of a major American poet's enduring works.
The poems in this volume were selected by the poet in 1978 from his first three books—A Run of Jacks, Death of the Kapowsin Tavern, and Good Luck in Cracked Italian—and from his three more recent books, The Lady in Kicking Horse Reservoir, What Thou Lovest Well Remains American, and 31 Letters and 13 Dreams. The result easily demonstrated, then as now, the massive achievement of the writer whom Carolyn Kizer called "one of the most passionate, energetic, and honest poets living."
Circling the Canon, Volume I covers roughly the first half of Perloff's career, beginning with her first ever review, on Anthony Hecht's The Hard Hours.
In Hunting Men, poet Dave Smith reasserts the validity of poetry in our times. With eloquence, grace, and a searching intelligence, Smith illuminates both poems and poets. Believing that "great poetry cannot be divorced from an intimate, organic link to place," he builds a compelling case for the importance of southern poets. Like the hunters who taught Smith as a young man patience, observation, and willingness to rely on his senses, he leads readers on an expedition through a specific poetic place with a sure sense of direction and destination.Beginning with a discussion of southern poetry that seeks to define the form and its value for a global readership, the first of the book's three sections also includes reflections on Edgar Allan Poe, John Crowe Ransom, Robert Penn Warren, and James Dickey. In the second part, Smith focuses on contemporary poets Richard Hugo, Stephen Dunn, Stephen Dobyns, and Larry Levis, among others. In the final chapters, he examines how he came to be a poet and reflects on the nature and practice of poetry.Smith describes himself as a poet born and raised in the South "but never entirely comfortable with the neighborhood or many of the public assumptions about southernness." By describing why southern poetry is important to him, he reveals why poetry matters to all of us as he asserts the moral weight of regional art. "My success, if it occurs, will be to send readers to the books of the poets where the world, as they knew it, waits and is full of the delights of the unglimpsed and known."
A Study Guide for Richard F. Hugo's "For Jennifer,6, On The Teton," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
Our appreciation of American poetry is as influenced by the personas presented in the poems as by public perception of the poets themselves. Emily Dickinson peeking from behind a doorway with large dark eyes is an indelible image superimposed over her spare, enigmatic poems. The grand gestures of Walt Whitman's voice have much to do with our reading of "Song of Myself." And we cannot hear "Mending Wall" or "Mowing" without thinking of the image of the rustic, sly farmer-poet that Robert Frost so carefully cultivated. The moral authority of the poet reveals itself through the poems as well, and it is crucial to the meaning of the poem, Holden argues, if art is to elevate life. Part 1 of The Old Formalism,"The Practice," is a close study of some of the conventions and developments in contemporary American poetry, with such topics as "sex and poetry" "rhetoricity," and "sensibility." Holden shows lucidly how character--or lack of it--is revealed in poetry. In "Personae," the second part, he gives a studied reading of a group of several admired poets, such as Richard Hugo, Mary Kinzie, Ted Kooser, and William Stafford. Holden uses biographical references and personal contacts with the poets to strengthen the notion of character revealed in poetry. This book takes a decided stand in the ongoing debate of the past two decades about the relationship of American poetry to American culture. In an age when image dominates word, and the business of poetry is nearly as celebrity-laden as Hollywood, Holden takes us past the media glitz, backstage where the poems are waiting to be read. Quite simply, in a clear, incisive manner, he teaches us how to read well again.