By John Hollander
A wonderful new assortment from one in every of our so much distinctive poets.
Here are poems that discover the ways that traditional gadgets open doorways to the extra hidden, unconscious truths of our internal selves: a chook of “countless colors” calls to brain “the echo . . . / of an internal occasion / From my forgotten past”; a subway bee sting inspires fast not going visits via the muses—a short-term information that's “as a lot of a / present from these 9 sisters as / Is ever given.”
Other poems lay naked the imperfect nature of our stories: truth altered through our necessarily much less actual yet possibly “truer” remember of previous occasions (“memory— / As choked with random holes as any / Uncleaned window is of spots / Of blur and dimming—begins right now / To interfere”). nonetheless others study the dramatic alterations in point of view we suffer over the process an entire life as, within the poem “When We Went Up,” John Hollander describes the various responses he has to hiking an analogous mountain at diverse issues in his life.
In the entire poems Hollander illuminates the fluid nature of actual and emotional adventure, the connections among the straightforward issues we come across each day and the ways that the which means we characteristic to them shapes our lives. just like the harmonious coming jointly of bandstand tools on a summer time afternoon, he writes, such a lot of what we come to grasp on the planet is “A demise second / Of lastingness thenceforth / Ever to not be.”
Throughout this thought-provoking assortment, Hollander unearths the ways that we're continuously developing designated worlds of our personal, “a draft of light” of our personal making, and the way those worlds, in flip, constantly form our most simple identities and truest selves.
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Additional resources for A Draft of Light: Poems
After all, the bird is obsessed with the sand, not his toes. Unlike the fleeing creatures of "The Armadillo" [QT], the sandpiper runs in a world devoid of human presence and its attendant scale. The poem shares a view from above —or beyond—this obsessed bird's seascape. Though usually occupying a contemplative or a migratory presence in the landscape, Bishop occasionally assumes the advocacyrole of witness of human destruction of nature, the world of damaged shores. Exiled by her refusal of ordinary empathy, the poet grieves from a distance, regretting her undeniable kinship with destroyers.
The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. 19 Deconstructing Images The uneasy confirmation of self involves a risk of immersion, an affirmation of faith, an acknowledgment of the efficacy of the metaphor of creation. The seal breaking through the surface of the unknown initiates that which must be completed in experience.
Bishop's clatter, unlike Crane's rustlings in the palms, draws us not toward the visionary beyond but back to earth, to the "delicately ornamented" surface. The coastline is merely weighty and unremarkable in itself. The first stanza, though barely suggesting the core of experience, prompts a consideration of the surface and sound of this state. However, the tropical setting inspires Bishop to an uncharacteristic and romantic gesture. She probes the surface in search of the essence itself. " Following the descending buzzards, the narrative drifts toward extinction in plenitude.