“I greatly admire Alison Deming’s lucid and precise language, her stunning metaphors, her passion, her wild and generous spirit, her humor, her formal cunning. I am taken, as all readers will be, by the knowledge she displays and how she puts this knowledge to a poetic use; but I am equally taken—I am more taken—by the wisdom that lies behind the knowledge. I am amazed, and delighted, by her authority and tenacity. She is of this world; she lives in it, and for better or worse, it is the world she settles for; and she understands that, even if she must rage a little, and sometimes more than a little, she is one of its citizens. Like every original poet, she appears to have sprung full-blown—out of Zeus’ head I want to say—but Aphrodite is here as well as Athena, the ocean as well as the mountain. I congratulate her on this fine book.”—Gerald Stern Alison Hawthorne Deming brings to her first collection of verse the kinds of scrupulous observation and clear-eyed analysis that characterize scientific inquiry as well as a poet’s eye for the telling moment.Science and Other Poems establishes astonishing parallels between the mute, inexorable processes of the physical universe and the dark mysteries of the human heart, parallels so clearly wrought and convincing that we wonder why we had not recognized them before. “Caffe Trieste” lays bare the unexamined terror and sorrow that underlie the proliferation of faux fifties kitsch, then strips the veil of spacious grace from the decade and reveals it as it was for those who lived it: . . . bombs spread like bacteria on culture plates, when the cost of a family staying together might be Stelanize and high-voltage erasures. They’re just American— all shine and no pain. In the chilling “Alliance, Ohio,” a mother and daughter suddenly find themselves stranded in a world of predators, a poisonous world charged with sexual threat, where every smile, every gesture, drips with sly menace. Yet moments of dislocation can also be cause for rejoicing, as when a speaker, after surprising a bat in the house, is moved to rapture by the sight of the night sky. Every page of Science and Other Poems is alive with startling juxtapositions, eerie parallels, abrupt shifts of tone, and image after image of crystalline perfection—as in this dazzling evocation of soft-shelled crabs: “their finely stippled bodies that give to the touch, / translucent as Japanese lanterns.” These poems imbue everything, from the microscopic to the stellar, with wonder. Each instant of illumination, like poetry itself, brings the world alive with “a faithfulness deeper than seeing.”
From a poet and essayist whose writing about nature has won her comparisons with Gary Snyder and Terry Tempest Williams comes a new collection that offers further evidence of her ability to trace the intersections of the human and nonhuman worlds. The title poem is a lyrical excavation of the city of Prague, where layers of history, culture and nature have accumulated to form “a genius loci”—a guardian spirit.
New from a poet renowned for her lyricism, wisdom, and originality Alison Hawthorne Deming ’s fourth collection of poems follows the paths of imagination into meditations on salt, love, Hurricane Katrina, Greek myth, and the search for extraterrestrial life, all linked by the poet’s faith in art as an instrument for creating meaning, beauty, and continuity—virtues diminished by the velocity and violence of our historical moment. The final long poem “The Flight,” inspired by the works of A. R. Ammons, is a twenty-first century epic poised on the verge of our discovering life beyond Earth.
A new collection from a poet who “writes with scrupulous and merciful passion about every kind of relatedness—family, place, politics, and wildlife” (W. S. Piero) In her fifth book of poems, Stairway to Heaven, Alison Hawthorne Deming explores dimensions of grief and renewal after losing her brother and mother. Grounded in her communion with nature and place, she finds even in Death Valley, that most stark of landscapes, a spirit of inventiveness that animates the ground we walk on. From the cave art of Chauvet to the futuristic habitat of Biosphere 2, that inventiveness becomes consolation for losses in family and nature, a means to build again a sense of self and world in the face of devastating loss.
Troubled by tensions that inevitably arise when civilization intrudes upon wild regions, Alison Hawthorne Deming visited some of our continent's most remote areas to answer questions that had long been on her mind. In the absence of vast frontiers, can we manage our ever-increasing numbers? How can we strike a balance with a natural world that we threaten by our very presence? With the language of a poet and the eye of a scientist, Alison Hawthorne Deming presents us with the difficult challenge of redefining our traditional notion of cultural progress and thinking of our future in new terms.
Part memoir, part cultural history, A Woven World celebrates the fading crafts, industries, and artisans that have defined communities for generations. The desire to create is the cornerstone of civilization. But as we move into a world where machine manufacturing has nearly usurped craft, Alison Hawthorne Deming resists the erasure of our shared history of handiwork with this appeal for embracing continuity and belonging in a time of destabilizing change. Sensing a need to preserve the crafts and stories of our founding communities, and inspired by an exhibit at the Metropolitan Museum of Art’s Costume Institute featuring Yves St. Laurent’s “sardine” dress, Deming turned to the industries of her ancestors, both the dressmakers and designers in Manhattan in the nineteenth century and the fishermen on Grand Manan Island, a community of 2,500 residents, where the dignity of work and the bounty of the sea ruled for hundreds of years. Reweaving the fabric of those lives, A Woven World gives presence on the page to the people, places, and practices, uncovering and preserving a record of the ingenuity and dignity that comes with such work. In this way the lament becomes a song of praise and a testament to the beauty and fragility of human making.
“Beautifully written essays” on animals, “the real and mythological, the ordinary and the exotic, the wild and the domesticated” (Publishers Weekly). Humans were surrounded by other animals from the beginning of time: they were food, clothes, adversaries, companions, jokes, and gods. And yet, our companions in evolution are leaving the world—both as physical beings and spiritual symbols—and not returning. In this collection of linked essays, Alison Hawthorne Deming examines what the disappearance of animals means for human imagination and existence. Moving from mammoth hunts to dying house cats, she explores profound questions about what it means to be animal. What is inherent in animals that both leads us to destroy and leads us toward peace? As human animals, how does art both define us as a species and how does it emerge primarily from our relationship with other species? The reader emerges with a transformed sense of how the living world around us has defined and continues to define us in a powerful way. “Beautifully written essays on animal and human behavior and biology . . . highly recommended for lovers of words and nature.” —Publishers Weekly “Human beings live in an age in which industrialization and mass extinction are facts of life. But as Deming suggests in this collection, the more people denude the planet of animals, the more diminished they become in spirit . . . Eloquent, sensitive and astute.” —Kirkus Reviews “Serpentine intellect and wry humor.” —Booklist
New from a poet renowned for her lyricism, wisdom, and originality Alison Hawthorne Deming ’s fourth collection of poems follows the paths of imagination into meditations on salt, love, Hurricane Katrina, Greek myth, and the search for extraterrestrial life, all linked by the poet’s faith in art as an instrument for creating meaning, beauty, and continuity—virtues diminished by the velocity and violence of our historical moment. The final long poem “The Flight,” inspired by the works of A. R. Ammons, is a twenty-first century epic poised on the verge of our discovering life beyond Earth.
Part memoir, part cultural history, A Woven World celebrates the fading crafts, industries, and artisans that have defined communities for generations. The desire to create is the cornerstone of civilization. But as we move into a world where machine manufacturing has nearly usurped craft, Alison Hawthorne Deming resists the erasure of our shared history of handiwork with this appeal for embracing continuity and belonging in a time of destabilizing change. Sensing a need to preserve the crafts and stories of our founding communities, and inspired by an exhibit at the Metropolitan Museum of Art’s Costume Institute featuring Yves St. Laurent’s “sardine” dress, Deming turned to the industries of her ancestors, both the dressmakers and designers in Manhattan in the nineteenth century and the fishermen on Grand Manan Island, a community of 2,500 residents, where the dignity of work and the bounty of the sea ruled for hundreds of years. Reweaving the fabric of those lives, A Woven World gives presence on the page to the people, places, and practices, uncovering and preserving a record of the ingenuity and dignity that comes with such work. In this way the lament becomes a song of praise and a testament to the beauty and fragility of human making.
From a poet and essayist whose writing about nature has won her comparisons with Gary Snyder and Terry Tempest Williams comes a new collection that offers further evidence of her ability to trace the intersections of the human and nonhuman worlds. The title poem is a lyrical excavation of the city of Prague, where layers of history, culture and nature have accumulated to form “a genius loci”—a guardian spirit.
A new collection from a poet who “writes with scrupulous and merciful passion about every kind of relatedness—family, place, politics, and wildlife” (W. S. Piero) In her fifth book of poems, Stairway to Heaven, Alison Hawthorne Deming explores dimensions of grief and renewal after losing her brother and mother. Grounded in her communion with nature and place, she finds even in Death Valley, that most stark of landscapes, a spirit of inventiveness that animates the ground we walk on. From the cave art of Chauvet to the futuristic habitat of Biosphere 2, that inventiveness becomes consolation for losses in family and nature, a means to build again a sense of self and world in the face of devastating loss.
“I greatly admire Alison Deming’s lucid and precise language, her stunning metaphors, her passion, her wild and generous spirit, her humor, her formal cunning. I am taken, as all readers will be, by the knowledge she displays and how she puts this knowledge to a poetic use; but I am equally taken—I am more taken—by the wisdom that lies behind the knowledge. I am amazed, and delighted, by her authority and tenacity. She is of this world; she lives in it, and for better or worse, it is the world she settles for; and she understands that, even if she must rage a little, and sometimes more than a little, she is one of its citizens. Like every original poet, she appears to have sprung full-blown—out of Zeus’ head I want to say—but Aphrodite is here as well as Athena, the ocean as well as the mountain. I congratulate her on this fine book.”—Gerald Stern Alison Hawthorne Deming brings to her first collection of verse the kinds of scrupulous observation and clear-eyed analysis that characterize scientific inquiry as well as a poet’s eye for the telling moment.Science and Other Poems establishes astonishing parallels between the mute, inexorable processes of the physical universe and the dark mysteries of the human heart, parallels so clearly wrought and convincing that we wonder why we had not recognized them before. “Caffe Trieste” lays bare the unexamined terror and sorrow that underlie the proliferation of faux fifties kitsch, then strips the veil of spacious grace from the decade and reveals it as it was for those who lived it: . . . bombs spread like bacteria on culture plates, when the cost of a family staying together might be Stelanize and high-voltage erasures. They’re just American— all shine and no pain. In the chilling “Alliance, Ohio,” a mother and daughter suddenly find themselves stranded in a world of predators, a poisonous world charged with sexual threat, where every smile, every gesture, drips with sly menace. Yet moments of dislocation can also be cause for rejoicing, as when a speaker, after surprising a bat in the house, is moved to rapture by the sight of the night sky. Every page of Science and Other Poems is alive with startling juxtapositions, eerie parallels, abrupt shifts of tone, and image after image of crystalline perfection—as in this dazzling evocation of soft-shelled crabs: “their finely stippled bodies that give to the touch, / translucent as Japanese lanterns.” These poems imbue everything, from the microscopic to the stellar, with wonder. Each instant of illumination, like poetry itself, brings the world alive with “a faithfulness deeper than seeing.”
Humans were surrounded by other animals from the beginning of time: they were food, clothes, adversaries, companions, jokes, and gods. And yet, our companions in evolution are leaving the world - both as physical beings and spiritual symbols - and not returning. In this collection of linked essays, Alison Hawthorne Deming asks, and seeks to answer: what does the disappearance of animals mean for human imagination and existence? Moving from mammoth hunts to dying house cats, she explores profound questions about what it means to be animal. What is inherent in animals that leads us to destroy, and what that leads us toward peace? As human animals, how does art both define us as a species and how does it emerge primarily from our relationship with other species? The reader emerges with a transformed sense of how the living world around us has defined and continues to define us in a powerful way"--
Nearly all critics of Hawthorne have ignored this element of development, thus missing the complex evolution of the subject and the revealing intertextual play of meaning that is evident in everything Hawthorne wrote during this period.
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