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George Balanchine, one of the twentieth century's foremost choreographers, strove to make music visible through dance. In The Art of Gravity, Jay Rogoff extends this alchemy into poetry, discovering in dancing -- from visionary ballets to Lindy-hopping at a drunken party -- the secret rhythms of our imaginations and the patterns of our lives.
The poems unfold in a rich variety of forms, both traditional and experimental. Some focus on how Edgar Degas's paintings expose the artifice and artistic self-consciousness of ballet while, paradoxically, illuminating how it creates rapture. Others investigate dance's translation of physical gesture into allegorical mystery, especially in Balanchine's matchless works. Rogoff pays tribute to superb dancers who grant audiences seductive glimpses of the sublime and to all of us who find in dance a redemptive image of ourselves.
The poet reveals dance as an "art of gravity" in the illusory weightlessness of a "dance that ends in mid-air," in the clumsiness of a Latin dance class's members "trip- / ping over each other in the high school / gym," and in the exploration of ultimate Gravity -- a sonnet sequence titled "Danses Macabres." Ultimately, Rogoff confronts with unflinching precision the dark consummation of all our dancing.
All of the major meditations on the theory and practice of poetry by one of the greatest poets of our time--and perhaps the one who has most scrupulously analyzed his art--are included in The Art of Poetry.
Originally published in 1985.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
In these poems, G. E. Murray blends the colors of the soul with those of the world it brushes up against, exploring the ways in which art, both as possession and possessor, informs perception._x000B_Viewing his subjects sometimes from airplane altitude, sometimes from the intimacy of a shared restaurant table, Murray crafts true stories about color,? narratives of dislocation and belonging that invite readers to question their own relationship to art._x000B_Included in this volume is a long sequential poem titled The Seconds,? which Murray composed across the second days of thirteen months. The rhythms of this diary-as-poem seize the tensions of shifting times and locales, capturing the essences of moments that are at once chosen and arbitrary._x000B_Codes toward an Incidental City,? the sequence that closes the book, is a confederacy of forty poems that delve into the concrete familiarities and mythologies of urban landscapes, illuminating the ecstasies of city life._x000B_
New and Selected Poems
Five of the collections are comprised of poems of geographic place, four of which are set primarily in Texas. His fifth “place” collection is set on the coast of Maine. The poems selected from his remaining collections range in subject matter from outlaw bikers to ekphrasis; from the avian world to an asylum for the criminally insane.
The tools of his trade
are unassuming and relatively
primitive. The stagehand
is his counterpart in drama.
In the shadows of architects,
for grand cathedrals of sonatas,
he lays the bricks. Of pitch
and tone, he is master.
Even a concert pianist
steers clear of his ear.
Ascending Order is the work of a poet in midcareer who has thought hard about the circumstances of his past and present, and found an attitude, part concerned and part amused, that serves him well in both his life and his art. The poems in William Greenway’s new book range widely, from memories of childhood and family through meditations on works of art, from humourous topics such as the cars in Hell’s garage or a dead celebrity golf tournament to deep-felt contemplations of cultures American and otherwise or the ailments of middle age and the shadows of mortality. But whether the subjects are serious or playful, the rich vision and inventive language displayed in these poems are Greenway’s alone.
“In Ascension, J. Scott Brownlee takes us through the small towns and back woods of the Texas Hill Country, always with a keen sense of character and a fine ear for the beauties of language. This is a terrific collection of poems.” —Kevin Prufer, Final Judge
Organ Solo with Oblivion and Gar
Skittish fish lay eggs
in this shallow stone
cleft of an algae chorus.
Turn my soul into song,
if you can, River Lord.
Treat believing the same
as each minnow slipping
coin-like into deep murk.
Your spirit mimics me
face framing brackish
absence, saying, Kneel
into this. Lean low,
sinner, & drink. Bitter
infidel, swallow the black
granite whole if you are not
afraid of what comes after it:
___________. Live forever.
Bolin’s eye and mind are acutely tuned to the edges of broken objects and vistas, to the mysterious remnants out of which meaningful speech might be reconstituted. These poems unfold in a world of beautiful, crystalline absence, one that is nearly depopulated, as though encountered in the aftermath of an unnamed violence to the land and to the soul.
In poems of prodigious elegance and anxious control, Bolin evokes influences as various as Robert Frost, James Wright, Robert Hass, George Oppen, and Robert Creeley, while fashioning his own original and urgent idiom, one that both theorizes and tests the prospects of imaginative ascension, and finds “new locutions for referencing / sky.”
Daniel Hughes's final volume of poetry, written during his years of struggle with multiple sclerosis, displays his characteristic wit, intelligence, and imagination. While the poems in Ashes & Stars deal with themes such as love and mortality, the conflict between imagination and actuality, and the pleasures of the world around us, they are never somber or overly serious. Even the shortest ones have a wry comic sense. Additionally, Hughes's poems demonstrate a remarkably economical and precise use of language, without a wasted word in the entire collection. Although the concentrated emotion of the poems may remind readers of Emily Dickinson and Robert Lowell, Hughes's poetic forms-quatrains, tercets, irregular sonnets, irregular rhymes-also illustrate the deep influence of the English Romantics, whom he championed throughout his academic career. In addition, many poems draw inspiration from numerous individuals and works of art from the Italian Renaissance, as they weave abstract themes from Western culture with the sensual data of the poet's experience. Despite these deep historical and literary roots, the conversational tone of Ashes & Stars ensures that it is never dry or academic. The poems speak to the reader as to an intimate, giving a sense of transmitting hard-earned experience and knowledge. All readers will appreciate the passionate energy and worldly air of these unique and exactingly honest final poems.
Asomne amwue nda (Sorrow in the House) is an exposition of brutality, suffering, and sadness associated with destruction; citizens running scared, living in fear and don't know what to do. The poems illustrate how Africans find themselves lost in the midst of destruction. The collection exposes the emotions and sad feelings of soldiers and civilians; their experiences as a result of instability and suicide attacks. The poems are an expression of sorrow for a society that was once hailed for its communality but now is in ruins with conflicts and misunderstanding tearing society apart.
Authorship from Troubadour Song to Italian Poetry Book
Assembling the Lyric Self challenges received ideas about the origins of a genre (the author-ordered poetry book) and about periodization, including the traditional opposition between medieval conformity and Renaissance individualism. A major reassessment and redefinition of an entire tradition, this book will be essential reading for scholars not only of the Middle Ages but also of the early modern period whose precedents this book realigns.