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Winner of the National Book Award, the Pulitzer Prize for Poetry, and numerous other awards, C. K. Williams is one of the most distinguished poets of his generation. Known for the variety of his subject matter and the expressive intensity of his verse, he has written on topics as resonant as war, social injustice, love, family, sex, death, depression, and intellectual despair and delight. He is also a gifted essayist, and In Time collects his best recent prose along with an illuminating series of interview excerpts in which he discusses a wide range of subjects, from his own work as a poet and translator to the current state of American poetry as a whole. In Time begins with six essays that meditate on poetic subjects, from reflections on such forebears as Philip Larkin and Robert Lowell to “A Letter to a Workshop,” in which he considers the work of composing a poem. In the book’s innovative middle section, Williams extracts short essays from interviews into an alphabetized series of reflections on subjects ranging from poetry and politics to personal accounts of his own struggles as an artist. The seven essays of the final section branch into more public concerns, including an essay on Paris as a place of inspiration, “Letter to a German Friend,” which addresses the issue of national guilt, and a concluding essay on aging, into which Williams incorporates three moving new poems. Written in his lucid, powerful, and accessible prose, Williams’s essays are characterized by reasoned and complex judgments and a willingness to confront hard moral questions in both art and politics. Wide-ranging and deeply thoughtful, In Time is the culmination of a lifetime of reading and writing by a man whose work has made a substantial contribution to contemporary American poetry.
"First published in a slight different form in Great Britain in 2019 by Profile Books Ltd."--Title page verso.
"David Orr is no starry-eyed cheerleader for contemporary poetry; Orr’s a critic, and a good one. . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom Perrotta Award-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.
A new book of poetry from internationally acclaimed, award-winning and bestselling author Margaret Atwood In Dearly, Margaret Atwood’s first collection of poetry in over a decade, Atwood addresses themes such as love, loss, the passage of time, the nature of nature and - zombies. Her new poetry is introspective and personal in tone, but wide-ranging in topic. In poem after poem, she casts her unique imagination and unyielding, observant eye over the landscape of a life carefully and intuitively lived. While many are familiar with Margaret Atwood’s fiction—including her groundbreaking and bestselling novels The Handmaid’s Tale, The Testaments, Oryx and Crake, among others—she has, from the beginning of her career, been one of our most significant contemporary poets. And she is one of the very few writers equally accomplished in fiction and poetry. This collection is a stunning achievement that will be appreciated by fans of her novels and poetry readers alike.
Late in life our most revered poet delivers a verdant collection that rivals the best from his storied career.
An essential selection of one of the most important twentieth-century creative movements Black Mountain College had an explosive influence on American poetry, music, art, craft, dance, and thought; it’s hard to imagine any other institution that was so utopian, rebellious, and experimental. Founded with the mission of creating rounded, complete people by balancing the arts and manual labor within a democratic, nonhierarchical structure, Black Mountain was a crucible of revolutionary literature. Although this artistic haven only existed from 1933 to 1956, Black Mountain helped inspire some of the most radical and significant midcentury American poets. This anthology begins with the well-known Black Mountain Poets—Charles Olson, Robert Creeley, Robert Duncan, and Denise Levertov—but also includes the artist Josef Albers and the musician John Cage, as well as the often overlooked women associated with the college, M. C. Richards and Hilda Morley.
The Fate of Difficulty in the Poetry of Our Time offers original readings of poems composed in this century—poems that are challenging to follow, challenging to understand, challenging to discuss, and challenging to enjoy. Difficult poetry of the past relied on allusion, syntactic complexity, free association, and strange juxtapositions. The new poetry breaks with the old in its stunning variety; its questioning of inherited values, labels, and narratives; its multilingualism; its origin in and production of unnamed affects; and its coherence around critical and social theorists as much as other poets. The essays in this volume include poets writing on the works of a younger generation (Lyn Hejinian on Paolo Javier, Bob Perelman on Rachel Zolf, Roberto Tejada on Rosa Alcalá), influential writers addressing the work of peers (Ben Lerner on Maggie Nelson, Michael W. Clune on Aaron Kunin), critics making imaginative leaps to encompass challenging work (Brian M. Reed on Sherwin Bitsui, Siobhan Philips on Juliana Spahr), and younger scholars coming to terms with poets who continue to govern new poetic experimentation (Joseph Jeon on Myung Mi Kim, Lytle Shaw on Lisa Robertson). In pairings that are both intuitive (Marjorie Perloff on Craig Dworkin) and unexpected (Langdon Hammer on Srikanth Reddy), The Fate of Difficulty in the Poetry of Our Time illuminates the myriad pathways and strategies for exploring difficult poetry of the present.
One of our most perceptive critics on the ways that poets develop poems, a career, and a life Though it seems, at first, like an art of speaking, poetry is an art of listening. The poet trains to hear clearly and, as much as possible, without interruption, the voice of his or her mind, the voice that gathers, packs with meaning, and unpacks the language he or she knows. It can take a long time to learn to let this voice speak without getting in its way. This slow learning, the growth of this habit of inner attentiveness, is poetic development, and it is the substance of the poet’s art. Of course, this growth is rarely steady, never linear, and is sometimes not actually growth but diminishment—that’s all part of the compelling story of a poet’s way forward. —from the Introduction “The staggering thing about a life’s work is it takes a lifetime to complete,” Craig Morgan Teicher writes in these luminous essays. We Begin in Gladness considers how poets start out, how they learn to hear themselves, and how some offer us that rare, glittering thing: lasting work. Teicher traces the poetic development of the works of Sylvia Plath, John Ashbery, Louise Glück, and Francine J. Harris, among others, to illuminate the paths they forged—by dramatic breakthroughs or by slow increments, and always by perseverance. We Begin in Gladness is indispensable for readers curious about the artistic life and for writers wondering how they might light out—or even scale the peak of the mountain.
An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.