The subtlest feeling for the measure that I encounter anywhere except in the verses of Ezra Pound."—William Carlos Williams "It is a study, how Creeley lands syntax down the alley, and his vocabulary-pure English-to hit meters and rhymes all of which are spares and strikes."—Charles Olson "Robert Creeley has created a noble body of poetry that extends the work of his predecessors Pound, Williams, Zukofsky, and Olson, and provides like them a method for his successors in exploring our new American poetic consciousness."—Allen Ginsberg "His succinctness is like the unfettered flashing of a diamond." —John Ashbery "Robert Creeley was one of the great giants of 20th Century American poetry. This collection is his monument." —Paul Auster "American poetry is unimaginable and, happily, unknowable without Creeley."—Andrei Codrescu, author of it was today: new poems "Creeley is a touchstone for me-a measure of what poetry is. He is a genius of the sensorium as Kerouac was and a master of the ear as is Miles Davis. He is a carver in space like Van Gogh."—Michael McClure "There is no poetry more vivid, immediate, or telling than Robert Creeley's. His Collected Poems extends the achievement of Dickinson, Whitman, and Williams into postwar America. Creeley's excavation of particular words, images, and sentiments resonate beyond the pages of this book into the fabric of everyday life. This is American invention at its best, as necessary as the air we breathe and the ground we walk on."—Charles Bernstein "'It isn't what a poet says that counts as a work of art,' William Carlos Williams once wrote, 'it's what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity.' I can't think of another contemporary poet whose acute sensitivity to the particular event of making (and in poetry making includes breaking) each written line is as consummately fine-tuned as Robert Creeley's."—Susan Howe "He was the main support in the old house of poetry—the main beam."—C.D. Wright, Brown University alumni newsletter "There is no poet like Creeley. His multiple subjectivities and magic syllables have kept us curious and honest. Never a false step, never a less than tender heart for the sound, and the brilliant cognitive, often fierce power therein. What a glorious long life in writing. These late poems keep the brilliant tempo. We are very lucky he is still so much among us."—Anne Waldman "Robert Creeley transformed the momentary, spontaneous music of being alive into a profoundly enduring American art: brilliant, necessary, impeccably scored. He made it new for always."—Peter Gizzi
Robert Creeley is one of the most celebrated and influential of the postwar American poets. His Selected Letters, covering the years 1945-2005 are a foundational document in the recent history of North American letters. Through his engagements with mentors such as William Carlos Williams and Ezra Pound; peers such as Charles Olson, Robert Duncan, Denise Levertov, Allen Ginsberg, and Jack Kerouac and mentees such as Charles Bernstein, Anselm Berrigan, Ed Dorn, Susan Howe, and Tom Raworth, Creeley helped forge a new poetry that re-imagined writing for his and subsequent generations. A stylist of the highest order, Creeley's letters carry the clear mark of consummate literary artistry and document the life, work, and times of one of our greatest writers"--
A collection of Creeley's work gathered from obsolesced collections, small press booklets and little mags. Here one can trace the development of his poetry from its early break with the Eliot/Auden tradition to the development of his own distinct voice in the middle poems, such as Words and Pieces, known for their precise, terse and almost minimalist language, as well as his return to the more direct concern for love and humanity. Restores to print--For Love, The Charm, In London, His Idea, Thirty Things, Backwards, Away and previously uncollected poems.
New poetry from the winner of the Bollingen Prize in Poetry, a Lifetime Achievement Award from the Before Columbus Fdtn., and a Lannan Foundation Lifetime Achievement Award.
It captures the poet in an engaged and highly compacted moment that deliberately echoes Wallace Stevens's "The Anecdote of the Jar" - a reverberation from the poet's youth.
When Robert Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave--an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft.
Robert Creeley is one of the most celebrated and influential American poets. A stylist of the highest order, Creeley imbued his correspondence with the literary artistry he brought to his poetry. Through his engagements with mentors such as William Carlos Williams and Ezra Pound, peers such as Charles Olson, Robert Duncan, Denise Levertov, Allen Ginsberg, and Jack Kerouac, and mentees such as Charles Bernstein, Anselm Berrigan, Ed Dorn, Susan Howe, and Tom Raworth, Creeley helped forge a new poetry that re-imagined writing for his and subsequent generations. This first-ever volume of his letters, written between 1945 and 2005, document the life, work, and times of one of our greatest writers, and represent a critical archive of the development of contemporary American poetry, as well as the changing nature of letter-writing and communication in the digital era.
A collection of Creeley's work gathered from obsolesced collections, small press booklets and little mags. Here one can trace the development of his poetry from its early break with the Eliot/Auden tradition to the development of his own distinct voice in the middle poems, such as Words and Pieces, known for their precise, terse and almost minimalist language, as well as his return to the more direct concern for love and humanity. Restores to print--For Love, The Charm, In London, His Idea, Thirty Things, Backwards, Away and previously uncollected poems.
Here is Creeley at his skillfully selected best: full of the melodies of plain speech, concise yet resonant with emotion."—Juliana Spahr, author of This Connection of Everyone with Lungs "So fantastically simple and so satisfyingly complicated, these poems band together like the days in 'One Day': 'One day after another-/ perfect./ They all fit.'"—John Ashbery "Beautifully edited by Ben Friedlander with tenderness, intelligence, and care. A superb selection, well-introduced. Selected Poems provides a great sense of the range of Creeley's accomplishment—these poems among the most important of our time—a way of writing with the hesitations and grace of a new-found line, thinking informed by sources from Emily Dickinson to Charlie Parker. Selected Poems is at once a tribute to Creeley, a perfect introduction for new readers, and a valuable distillation for those who have already acquired a taste for Creeley's poetry. The perfect assembly to and for one so fond of saying 'onward.' We can now go onward with these selected poems, onward with these well-chosen words, with thanks to Robert Creeley and to Ben Friedlander."—Hank Lazer, author of The New Spirit "Benjamin Friedlander, himself a fine poet-critic and a great connoisseur of Creeley's poetry, has put together a superb selection."—Marjorie Perloff "An excellent selection and introduction. It is an edition that acknowledges work that has defined the poet's career while offering a new narrative for the entire oeuvre. It will join UC Press's distinguished and definitive editionsof postwar poetry and will provide us all with a summary guide to Creeley's best work."—Michael Davidson "In a quiet moment I hear Bob pause where I never would have expected it. Such resolve. Such heart. And an ear to reckon with. No truly further American poem without his."—Clark Coolidge, author of Counting on Planet Zero
An illuminating, interactive biographical essay culled from conversations between Creeley and Clark--together with Creeley's own "Autobiography" (1990), a talk he gave on poetry and "the commonplace" at New College of California (1991), and many personal photographs of himself and family and friends. Published by New Directions, 80 Eighth Ave., New York, NY 10011. Annotation copyright by Book News, Inc., Portland, OR
The events covered by the letters collected here start with Robert Creeley's discovery of Irving Layton and focus on the turbulent circumstances surrounding the publication (by Creeley's Divers Press in Majorca) of In the Midst of My Fever, Layton's first book of poems not published at his own expense and the one that established him as a major poet. Irving Layton and Robert Creeley also recounts the cementing of avant-garde contacts between Canada and the United States through magazines such as Origin, Contact, and CIV/n.
In his new collection of poems, Robert Creeley continues to explore the limits and resonances, public and personal, of age. Indeed, the title itself, Echoes, recurs throughout his poetry of the last two decades. Thus "Sonnets" speaks out against the waste of human violence and dogmatism ("Come round again the banal/belligerence almost a/flatulent echo of times"), while the book's closing sequence, "Roman Sketchbook", contemplates with wit and affection the measure of one's literal body in echoing time and place. Creeley as ever articulates the givens of life, its daily fact and possibility, with careful, concise invention. What wind's echo, uplifted spirit? Archaic feelings flood the body. Ah! accomplished.
First published in 1976, this beautiful, interactive collaboration is a unique work of book art in which Marisol’s monumental pop-art sculptures face the blocks of Creeley’s prose poems. The new introduction by Creeley scholar Stephen Fredman describes how the poet’s autobiographical prose poetry arose in conversation with images of Marisol’s equally autobiographical sculptures. In addition to the introduction, this edition features an appendix of newly discovered material, much of it found in Creeley’s own copy of the original edition of Presences. These include postcards and letters from Marisol, designer William Katz (who brought the poet and artist together), Mexican poet Octavio Paz, and several university professors. The material in the appendix allows the editor to reveal the genesis of Presences as a collaborative work of art involving three creators: artist, designer, and poet.
This definitive collection showcases thirty years of work by one of the most significant American poets of the twentieth century, bringing together verse that originally appeared in eight acclaimed books of poetry ranging from Hello: A Journal (1978) to Life & Death (1998) and If I were writing this (2003). Robert Creeley, who was involved with the publication of this volume before his death in 2005, helped define an emerging counter-tradition to the prevailing literary establishment—the new postwar poetry originating with Ezra Pound, William Carlos Williams, and Louis Zukofsky and expanding through the lives and works of Charles Olson, Robert Duncan, Allen Ginsberg, Denise Levertov, and others. The Collected Poems of Robert Creeley, 1975–2005 will stand together with The Collected Poems of Robert Creeley, 1975–2000 as essential reading for anyone interested in twentieth-century American poetry.
Three of Robert Creeley's collectionsMemory Gardens, Windows and Echoes (first time in paper)together in a convenient paperback edition. Just in Time: Poems 1984-1994 continues the consolidation of Robert Creeley's later work begun with So There: Poems 1976-1983 (1998). Just in Time combines Memory Gardens (1986), Windows (1990), and Echoes (1994) in a volume that further validates the Lifetime Achievement Award conferred on Creeley by the Before Columbus Foundation in 2000. The poet himself comments about his later work: "Much echoes in these poems from the the necessary 'voyage to oblivion' they prepare for, but they are fact of no simple despair. Each day stays specific, possible, each relation defining, whether of life or of death. As my longtime mentor, W.C. Williams, best put it, 'The descent beckons as the ascent beckoned...' One continues and learns despite.
Robert Creeley, one of the most significant American poets of the twentieth-century, helped define an emerging counter-tradition to the prevailing literary establishment--a postwar poetry originating with Ezra Pound, William Carlos Williams, and Louis Zukofsky. When Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave--an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft. On Earth reminds us what has made Robert Creeley one of the most affectionately regarded poets of our time.--From publisher description.
Here is Creeley at his skillfully selected best: full of the melodies of plain speech, concise yet resonant with emotion."—Juliana Spahr, author of This Connection of Everyone with Lungs "So fantastically simple and so satisfyingly complicated, these poems band together like the days in 'One Day': 'One day after another-/ perfect./ They all fit.'"—John Ashbery "Beautifully edited by Ben Friedlander with tenderness, intelligence, and care. A superb selection, well-introduced. Selected Poems provides a great sense of the range of Creeley's accomplishment—these poems among the most important of our time—a way of writing with the hesitations and grace of a new-found line, thinking informed by sources from Emily Dickinson to Charlie Parker. Selected Poems is at once a tribute to Creeley, a perfect introduction for new readers, and a valuable distillation for those who have already acquired a taste for Creeley's poetry. The perfect assembly to and for one so fond of saying 'onward.' We can now go onward with these selected poems, onward with these well-chosen words, with thanks to Robert Creeley and to Ben Friedlander."—Hank Lazer, author of The New Spirit "Benjamin Friedlander, himself a fine poet-critic and a great connoisseur of Creeley's poetry, has put together a superb selection."—Marjorie Perloff "An excellent selection and introduction. It is an edition that acknowledges work that has defined the poet's career while offering a new narrative for the entire oeuvre. It will join UC Press's distinguished and definitive editionsof postwar poetry and will provide us all with a summary guide to Creeley's best work."—Michael Davidson "In a quiet moment I hear Bob pause where I never would have expected it. Such resolve. Such heart. And an ear to reckon with. No truly further American poem without his."—Clark Coolidge, author of Counting on Planet Zero
Challenging the common perception of poets as standing apart from the mainstream of American culture, Robert von Hallberg gives us a fresh and unpredictable assessment of the poetry that has come directly out of the American experience since 1945. Who reads contemporary American poetry? More people than were reading new poetry in the 1920s, von Hallberg shows. How do poets respond to the public preoccupations of their readers? Often with fascination. Von Hallberg put the poems of Robert Creeley and John Ashbery together with the postwar outburst of systems analysis. The 1950s tourist poems of John Hollander, Adrienne Rich, W. S. Merwin, and James Merrill are treated as the cultural side of America's postwar rise to global political power There are chapters on the political poems of the 1950s and 1960s, and on Robert Lowell's sympathy for the imperialism of his liberal contemporaries. Poems of the 1970s on pop culture, especially Edward Dorn's Slinger, and some from the suburbs of the 1980s, are shown to reflect a curious peace between the literary and the mass cultures.
First published in 1976, this beautiful, interactive collaboration is a unique work of book art in which Marisol’s monumental pop-art sculptures face the blocks of Creeley’s prose poems. The new introduction by Creeley scholar Stephen Fredman describes how the poet’s autobiographical prose poetry arose in conversation with images of Marisol’s equally autobiographical sculptures. In addition to the introduction, this edition features an appendix of newly discovered material, much of it found in Creeley’s own copy of the original edition of Presences. These include postcards and letters from Marisol, designer William Katz (who brought the poet and artist together), Mexican poet Octavio Paz, and several university professors. The material in the appendix allows the editor to reveal the genesis of Presences as a collaborative work of art involving three creators: artist, designer, and poet.
This volume in the Collected Writings of Robert Duncan series gathers a far-reaching selection of Robert Duncan’s prose writings including most of his longer and more well-known essays along with other prose that has never been widely available. Ranging in original publication dates between 1940 and 1985, the forty-one titles reveal a great deal about Duncan’s life in poetry—including his impressions of poets whose work he admires, both contemporaries and precursors. Evocative and eclectic, this work delineates the intellectual contexts and sources of Duncan’s poetics, and opens a window onto the literary communities in which he participated.
In an age of hyperbole, Creeley has built a great poetry of unpretentious intellect and unaffected emotion. Annotation copyright by Book News, Inc., Portland, OR
Opera, poetics, and the fate of humanism : Ezra Pound and Charles Bernstein -- "Measure, then, is my testament" : Robert Creeley and the poet's music -- Orpheus in the garden : John Taggart -- Eurydice takes the mic : improvisation and ensemble in the work of Tracie Morris -- "Orphic bend" : music and meaning in the work of Nathaniel Mackey.
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