In these powerful and “achingly beautiful” (Booklist) poems of self-examination and openness from one of the cornerstones of the poetry world, Edward Hirsch assesses “the minor triumphs, the major failures” of his life, and the people and places that have colored it.
A rich and significant collection of more than one hundred poems, drawn from a lifetime of “wild gratitude” in poetry. In poems chronicling insomnia (“the blue-rimmed edge / of outer dark, those crossroads / where we meet the dead”), art and culture (poems on Edward Hopper and Paul Celan, love poems in the voices of Baudelaire and Gertrude Stein, a meditation on two suitcases of children’s drawings that came out of the Terezin concentration camp), and his own experience, including the powerful, frank self-examinations in his more recent work, Edward Hirsch displays stunning range and quality. Repeatedly confronting the darkness, his own sense of godlessness (“Forgive me, faith, for never having any”), he also struggles with the unlikely presence of the divine, the power of art to redeem human transience, and the complexity of relationships. Throughout the collection, his own life trajectory enriches the poems; he is the “skinny, long-beaked boy / who perched in the branches of the old branch library,” as well as the passionate middle-aged man who tells his lover, “I wish I could paint you— / . . . / I need a brush for your hard angles / and ferocious blues and reds. / . . . / I wish I could paint you / from the waist down.” Grieving for the losses occasioned by our mortality, Hirsch’s ultimate impulse as a poet is to praise—to wreathe himself, as he writes, in “the living fire” that burns with a ferocious intensity.
A collection of revised and expanded writings culled from the author's popular Washington Post Book World "Poet's Choice" column demonstrates how poetry responds to world challenges and introduces the work of more than 130 writers.
Edward Hirsch’s sixth collection is a descent into the darkness of middle age, narrated with exacting tenderness. He explores the boundaries of human fallibility both in candid personal poems, such as the title piece—a plea for his father, a victim of Alzheimer’s wandering the hallway at night—and in his passionate encounters with classic poetic texts, as when Dante’s Inferno enters his bedroom: When you read Canto Five aloud last night in your naked, singsong, fractured Italian, my sweet compulsion, my carnal appetite, I suspected we shall never be forgiven for devouring each other body and soul . . . From the lighting of a Yahrzeit candle to the drawings by the children of Terezin, Hirsch longs for transcendence in art and in the troubled history of his faith. In “The Hades Sonnets,” the ravishing series that crowns the collection, the poet awakens full of grief in his wife’s arms, but here as throughout, there is a luminous forgiveness in his examination of our sorrows. Taken together, these poems offer a profound engagement with our need to capture what is passing (and past) in the incandescence of language.
A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.
A Poet’s Glossary was an extraordinary achievement that continues to stand as a definitive source for poets and poetry lovers alike. Here, The Essential Poet’s Glossary gleans the very best from that extraordinary volume. "An instant classic that belongs on the bookshelf of every serious poet and literature student."—Washington Post Chancellor of the Academy of American Poets Edward Hirsch has compiled poetic terms spanning centuries and continents, including forms, devices, movements, aesthetics, rhetorical terms, and folklore. Knowing how a poem works is crucial to unlocking its meaning—entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made A Poet’s Glossary and How to Read a Poem so beloved, this Essential edition is the book that all readers, writers, teachers, and students of poetry will return to again and again.
From the National Book Critics Circle Award–winning poet and critic: “A lovely book, full of joy and wisdom.” —The Baltimore Sun How to Read a Poem is an unprecedented exploration of poetry, feeling, and human nature. In language at once acute and emotional, Edward Hirsch describes why poetry matters and how we can open up our imaginations so that its message can make a difference. In a marvelous reading of verse from around the world, including work by Pablo Neruda, Elizabeth Bishop, Wallace Stevens, and Sylvia Plath, among many others, Hirsch discovers the true meaning of their words and ideas and brings their sublime message home into our hearts. “Hirsch has gathered an eclectic group of poems from many times and places, with selections as varied as postwar Polish poetry, works by Keats and Christopher Smart, and lyrics from African American work songs . . . Hirsch suggests helpful strategies for understanding and appreciating each poem. The book is scholarly but very readable and incorporates interesting anecdotes from the lives of the poets.” —Library Journal “The answer Hirsch gives to the question of how to read a poem is: Ecstatically.” —Boston Book Review “Hirsch’s magnificent text is supported by an extensive glossary and superb international reading list.” —Booklist “If you are pretty sure you don’t like poetry, this is the book that’s bound to change your mind.” —Charles Simic, Pulitzer Prize–winning author of The World Doesn’t End
An acclaimed poet and our greatest champion for poetry offers an inspiring and insightful new reading of the American tradition We live in unsettled times. What is America and who are we as a people? How do we understand the dreams and betrayals that have shaped the American experience? For poet and critic Edward Hirsch, poetry opens up new ways of answering these questions, of reconnecting with one another and with what’s best in us. In this landmark new book from Library of America, Hirsch offers deeply personal readings of forty essential American poems we thought we knew—from Anne Bradstreet’s “The Author to Her Book” and Phillis Wheatley’s “To S.M. a Young African Painter, on seeing his Works” to Garrett Hongo’s “Ancestral Graves, Kahuku” and Joy Harjo’s “Rabbit Is Up to Tricks”—exploring how these poems have sustained his own life and how they might uplift our diverse but divided nation. “This is a personal book about American poetry,” writes Hirsch, “but I hope it is more than a personal selection. I have chosen forty poems from our extensive archive and songbook that have been meaningful to me, part of my affective life, my critical consideration, but I have also tried to be cognizant of the changing playbook in American poetry, which is not fixed but fluctuating, ever in flow, to pay attention to the wider consideration, the appreciable reach of our literature. This is a book of encounters and realizations.”
An excerpt from the poem, Wild Gratitude: "Tonight when I knelt down next to our cat, Zooey, And put my fingers into her clean cat's mouth, And rubbed her swollen belly that will never know kittens, And watched her wriggle onto her side, pawing the air, And listened to her solemn little squeals of delight, I was thinking about the poet, Christopher Smart, Who wanted to kneel down and pray without ceasing In everyone of the splintered London streets, And was locked away in the madhouse at St. Luke's With his sad religious mania, and his wild gratitude, And his grave prayers for the other lunatics, And his great love for his speckled cat, Jeoffry. All day today—August 13, 1983—I remembered how Christopher Smart blessed this same day in August, 1759, For its calm bravery and ordinary good conscience.
Now in his seventies, the award-winning poet looks back on what was and accepts what is, in a deeply moving and beautiful sequence about what sustains him Beginning with "My Friends Don't Get Buried," the lament of a delinquent mourner as his friends have begun to die, and ending with the plaintive note to self "don't write elegies/anymore," Edward Hirsch takes us backward through the decades in these memory poems of startling immediacy. He recalls the black dress a lover wore when he couldn't yet know the tragedy of her burning spirit; the radiance of an autumn day in Detroit when his students smoked outside, passionately discussing Shelley; the day he got off late from a railyard shift and missed an antiwar demonstration. There are direct and indirect elegies to lost contemporaries like Mark Strand, William Meredith, and, most especially, his longtime compatriot Philip Levine, whom he honors in several poems about daily work in the late mid-century Midwest. As the poet ages and begins to lose his peripheral vision, the world is "stranger by night," but these elegant, heart-stirring poems shed light on a lifetime that inevitably contains both sorrow and joy.
“A really beautiful book” of poems that delve into—and help us transcend—suffering, loss, fear, and loneliness, by the author of How to Read a Poem (The Boston Globe). Implicit in poetry is the idea that we are enriched by heartbreaks, by the recognition and understanding of suffering—not just our own suffering but also the pain of others. We are not so much diminished as enlarged by grief, by our refusal to vanish, or to let others vanish, without leaving a record. And poets are people who are determined to leave a trace in words, to transform oceanic depths of feeling into art that speaks to others. In 100 Poems to Break Your Heart, Edward Hirsch—prize-winning poet, critic, and author of How to Read a Poem—selects 100 poems, from the nineteenth century to the present, and illuminates them, unpacking context and references to help the reader fully experience the range of emotion and wisdom within them. “Darkly illuminating.” —Booklist (starred review) “These 100 poems will indeed break hearts, but they also offer examples of resilience, the lasting impact of words, and a wisdom that a reader can return to and share.” —New York Journal of Books
In a groundbreaking exploration of the sources and mysteries of artistic creativity, the author of How to Read a Poem examines the concept of "duende," the potent power of creativity that results in a work of art, as he looks art how different artists--including Paul Klee, T. S. Eliot, Herman Melville, William Blake, Ella Fitzgerald, and Sylvia Plath--respond to the creative impulse. Reader's Guide included. Reprint. 20,000 first printing.
Straightforward and precise, these poems, almost exclusively in narrative form, beckon the reader with their immediacy. Gracefully confirming the inextricable links between self and family, Hirsch, winner of a National Book Critics Circle Award for Wild Gratitude , is, at his best, captivating, transforming tremendous respect for and fascination with his Eastern European roots and Chicago upbringing into enlightened, richly detailed verse that artfully side-steps sentimentality.
Edward Hirsch's strong, arresting poems have been praised from the start of his career. Of his second book, Wild Gratitude, Robert Penn Warren said, "I am convinced that the best poems here are unsurpassed in our time". This, his fourth collection, contains his finest work. From gritty, apocalyptic views of the urban Midwest to brilliantly empathetic portrayals of Simone Weil and Hugo von Hofmannsthal, the range of poems is at once wide and subtle. "In the Midwest" speaks of the nightmare of abandon and decay; "From a Train (Hofmannsthal in Greece)" is the poet's compelling view of a timeless landscape; "The Italian Muse" is a meditation on Henry James in Rome; "Luminist Paintings at the National Gallery" beautifully evokes the sense of nineteenth-century American countryside. There is an argument about transcendence in these poems, an evocation of American spaces and European landscapes, a quest for reconciliation to the earth as it is. Hirsch's work, as Anthony Hecht has said, "has not only the courage of its strong emotions, but the language and form that makes and keeps them clear and true".
Kant is widely acknowledged as the greatest philosopher of modern times. He undertook his famous critical turn to save human freedom and morality from the challenge of determinism and materialism. Intertwined with his metaphysical interests, however, he also had theological commitments, which have received insufficient attention. He believed that man is a fallen creature and in need of ‘redemption’. He intended to provide a fortress protecting religious faith from the failure of rationalist metaphysics, from the atheistic strands of the Enlightenment, from the new mathematical science of nature, and from the dilemmas of Christian theology itself. Kant was an epistemologist, a philosopher of mind, a metaphysician of experience, an ethicist and a philosopher of religion. But all this was sustained by his religious faith. This book aims to recover the focal point and inner contradictions of his thought, the ‘secret thorn’ of his metaphysics (as Heidegger once put it). It first locates Kant in the tradition of reflection on the human weakness from Luther to Hume, and then engages in a critical, but charitable, manner with Kant’s entire pre-critical work, including his posthumous fragments. Special attention is given to The Only Possible Ground (1763), one of the most difficult, interesting and underestimated of Kant’s works. The present book takes its cue from an older approach to Kant, but also engages with recent Anglophone and continental scholarship, and deploys modern analytical tools to make sense of Kant. What emerges is an innovative and thought-provoking interpretation of Kant’s metaphysics, set against the background of forgotten religious aspects of European philosophy.
A maritime mystery from Edward Marston, author of the bestselling Railway Detective series. November 1907. George Dillman and Genevieve Masefield sail from Liverpool on the maiden voyage of the Mauretania. While posing as a passenger George is in fact an undercover detective hired by the Cunard Line. Dillman and Genevieve endure a nightmare voyage during which severe weather batters the vessel relentlessly and keeps the passengers away from the decks. Dillman is instrumental in rescuing a crew member from being washed overboard but he is too late to save one of the First Class passengers from the same fate. At first, it looks like a case of death by misadventure. But Dillman and Genevieve come to realise that it was an act of calculated murder, connected with the presence on board of a record shipment of gold bullion - twelve tons in all - sent from the Bank of England. At the time of her launch, the Mauretania was the largest moving structure ever built. She would later serve as a WWI hospital and troop ship. After returning to civilian service, Mauretania was retired and scrapped in the mid-1930s. Previously published under the name Conrad Allen, the Ocean Liner series is relaunched for a new generation of readers.
In more than a century of American Thoroughbred racing, only thirteen horses have won the Triple Crown (the Kentucky Derby, the Preakness Stakes, and the Belmont Stakes, all won in the same season). Veteran turf writer and racing historian Edward L. Bowen takes us through the rich history of one of the most formidable and exciting challenges in all of sport. Bowen covers the trainers, owners, and jockeys who etched their names into the annals of thoroughbred racing, and the “lucky thirteen” who captured all three jewels of the Triple Crown, racing’s most prestigious prize.
The Ocean Liner series by Edward Marston, author of the bestselling Railway Detective books, sets sail on some of the iconic vessels of the early twentieth century and each voyage takes a journey into ... murder. In book one, Murder on the Lusitania , George Dillman is aboard the Lusitania's 1907 maiden voyage from Liverpool to New York. While posing as a passenger, Dillman is in fact an undercover detective hired to keep an eye out for petty crimes. But after some uneventful days aboard, the ship's blueprints are stolen and then a body is found. As Dillman works to get to the bottom of the crimes, he makes an unusual friend, first-class passenger Genevieve Masefield, and the two uncover secrets aboard the ship that prove explosive. In book two, Murder on the Mauretania , Dillman and Masefield must endure a nightmare voyage in which severe weather batters the vessel. When a passenger is washed overboard, it is at first assumed it was a case of death by misadventure, but the detective pair come to realise that a very calculated murder has been carried out. In Murder on the Minnesota , Dillman and Masefield continue their travels as private detectives bound for the Far East. While a smuggling operation on the route is at first their focus, the voyage is blighted by a murder that will require all their investigative powers to solve. In Book four, Murder on the Caronia , Dillman and Masefield's Atlantic crossing is shared with a man and woman bound for England to face trial for murder. Over the course of the journey, Dillman and Masefield come to believe that the captured couple are not the vicious criminals many believe, but proving that hunch becomes harder when a killer strikes on board. Murder on the Marmora , the fifth instalment in the series, sees Dillman and Masefield set sail for Egypt, alongside royal passengers requiring security. And when a dead body turns up, the voyage proves to be one to remember.
Malcolm Merrill is a successful executive at a prestigious advertising firm in Los Angeles. He has a beautiful wife, a gorgeous home, expensive cars, and power at his disposal. In short, Malcolm Merrill seems to exemplify the American dream. So what could possibly possess someone who has it all to attempt suicide? This question is the premise of Malcolm From A Distance, a novel that chronicles the life of a man whose perfect world suddenly crumbles beneath him—a man forced to come to terms with all he sacrificed on his rise to the top: his family, his friends, and his soul.
Readership: Academics, clinical psychologists and psychiatrists, cognitive behavioural therapists, and undergraduate and postgraduate students in clinical psychology
The Discovery of First Principles looks at the history of human settlement on the earth and the socio-political arrangements and institutions evolving over the ages. The author presents the case for the existence of universal moral principles that must serve as the basis of law if law is to be just. The story he tells is fascinating and insightful, drawing on the observations and commentary of many of the most thoughtful actors in this human drama.
The history of European Jewry is a vast and complex subject. In this book, Edward Gelles traces Jewish history in Europe and the Near East including population movement, settlement, integration, advancement in aspects of European culture and learning, relations with European states and dynasties, Christians and Ottomans, persecution, the world wars, anti-Semitism, indeed the story of European Jewry from early times to the present. Edward Gelles and his family, both immediate and in their wider circle have huge and distinguished family connections that provide historical context. In combining biography, traditional genealogy and a contribution from the rapidly developing field of genetic genealogy this book weaves emerging patterns into the grand tapestry of European history.
A remnant of the Renaissance : the transnational iconography of justice -- Civic space, the public square, and good governance -- Obedience : the judge as the loyal servant of the state -- Of eyes and ostriches -- Why eyes? : color, blindness, and impartiality -- Representations and abstractions : identity, politics, and rights -- From seventeenth-century town halls to twentieth-century courts -- A building and litigation boom in Twentieth-Century federal courts -- Late Twentieth-Century United States courts : monumentality, security, and eclectic imagery -- Monuments to the present and museums of the past : national courts (and prisons) -- Constructing regional rights -- Multi-jurisdictional premises : from peace to crimes -- From "rites" to "rights" -- Courts : in and out of sight, site, and cite -- An iconography for democratic adjudication.
First in a two-volume study of Friedman’s long career: “No previous biographer has Nelson’s deep and sophisticated understanding of monetary economics.” —Economic History This study is the first to distill Nobel Prize winner Milton Friedman’s vast body of writings into an authoritative account of his research, his policy views, and his interventions in public debate. With this ambitious new work, Edward Nelson closes the gap: Milton Friedman and Economic Debate in the United States is the defining narrative on the famed economist, the first to grapple comprehensively with Friedman’s research output, economic framework, and legacy. This two-volume account provides a foundational introduction to Friedman’s role in several major economic debates that took place in the United States between 1932 and 1972. This first volume in the two-volume account takes the story through 1960, covering the period in which Friedman began and developed his research on monetary policy. It traces Friedman’s thinking from his professional beginnings in the 1930s as a combative young microeconomist, to his wartime years on the staff of the US Treasury, and his emergence in the postwar period as a leading proponent of monetary policy. As a fellow monetary economist, Nelson writes from a unique vantage point, drawing on both his own expertise in monetary analysis and his deep familiarity with Friedman’s writings. Using extensive documentation, the book weaves together Friedman’s research contributions and his engagement in public debate, providing an unparalleled analysis of Friedman’s views on the economic developments of his day. “Magisterial . . . For anyone wanting to understand the ideas that Friedman generated over his research career, this book is, and will remain for some time, the essential guide.” —Financial World
The Sequel Superior By: Edward K. Eckhart-Zinn Edward K. Eckhart-Zinn believes strongly that the age of internet criticism has led to a new path of viewing film and television, or by the encompassing terminology, “screen work”. A healthy array of screen work subjects are covered in The Sequel Superior, from the serialization of film through franchises like Star Wars or the MCU, to the overlooked impact your personal life has on any constructed artworks, exploring just how massive and engaged that link is. This book is equally for creators and critics alike, bringing new light to conceptually finding “objective factors” in “subjective artistry”. Screen works of all kinds are heavily dissected on this figurative operating table, such as Rick and Morty, Breaking Bad, The Simpsons, and the Star Wars sequel trilogy. The modern screen work climate is anatomically deconstructed to render an almost scientific schematic, breaking down elements such as tropes, hype, plot threads, plot holes, the fairly new presence of the internet, fandom, fan fiction, fanfare, the benefits of an animated medium, rosy retrospection, nostalgia, and all of their respective effects to generate the take o the current-day media environment. Instead of retreading the continued deconstruction of such antique masterpieces like Casablanca or The Shining, we instead immerse ourselves in the less respected yet extremely popular “popcorn movie” and attempt to understand why the highest grossing films for the last ten years have all been sequel installments. This book posits that there truly are right ways and wrong ways of making this artwork, and the consumer, critic, and creator can all benefit greatly from its perspectives.
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