W. S. Di Piero, a fresh and powerful voice in American poetry, opens this collection about public and private worlds with poems that revist the deaths of his parents. It is an important adult passage for him, and for them a last chance to leave a message: his father lying in bed, "bemused and contemptuous / of the hell in which he lay"; his mother soon to be laid out in the cheap gold flats "that made her look young and men look twice." Di Piero writes poems of relationships, of ordinary beauty, of the deep, vsieral memories that shape who we become. He reveals the art in the everyday--sometimes literally, as when he spies a Vermeer beauty in a girl with nose studs at the ATM, or Van Gogh's self-portrait in a small-time bookie. Whether describing the uncertainty of sexual love ("...your footpads / wet after a bath / left prints like / our conversations / every which way") or a panhandler in Port Authority ("Show you to your bus / or an excellent candy bar?"), he is delicate and direct at once, a no-nonsense guide to his surroundings who is moved by what he sees. His strong, elegantly simple statements of truths of feeling go beyond the pleasure of the words themselves and restore us to the thrill of honesty in our own lives.
The writing is superb, the insights come with astonishing and rich rapidity, and the moral and intellectual intelligence behind them strikes me as unflinchingly honest and scrupulous."--Reginald Gibbons, Editor, TriQuarterly
In this rich collection, W. S. Di Piero seeks the spirit and substance of illumination in all its forms. He finds meaning, or shows us how we attempt to do so, in the rituals and events that mark our year–the Fourth of July, Halloween, New Year’s Eve–and in the ordinary activities of mowing, dancing, drinking, trying to stay warm. “The Kiss” recounts how, as a young man, the poet was not called to the priesthood; in “Prayer Meeting,” he recalls watching his mother iron, with her “hopeless routine longing,” and declares, “I wanted more than what I prayed for.” For all their simplicity, Di Piero’s direct, often conversational turns of phrase reveal a world aflame with troubles, with love, with surprising lyrical epiphanies. Didn’t You Say Desire Is like the elephant fog shredded north a white sun going down Bessemers fired through clouds horizoned on my dog-eared stack It feels good and right to waste earnest hours of an early evening’s daylight saving time in uncertainty and want these cranky climates changing in us while we haven’t started dinner yet.
When a self-proclaimed "lazy scholar" embarks on a trip through his life's influences--as diverse as girl-group doo-wop, Yeats, and Van Gogh--readers are in for an illuminating ride. This collection of essays from cultural critic Di Piero veers from his early years as the son of immigrants in Philadelphia to his working life in art, film, music, and poetry. Along with a few choice essays reprinted from out-of-print collections, Di Piero's new work shows him to be insightful about himself and his work despite his protestations against the "boosterism" of autobiography. Through the lens of his sharp artistic analysis, readers see his story--an immigrant story filled with the music and mystery of a multilingual family, the men of his neighborhood wearing so many hats as they worked--as the auspicious beginning for his life of observation and revelation. His prose sings along, tripping across slang, poetry, and painters with the same precision that allows him to nearly dance about architecture. Though Di Piero would claim that his life's path "lurches and swerves," his essays prove that he has wandered expansively and with purpose--a city dog trotting across continents, along pages, and through galleries.
Shadows Burning is a poetry book that wrestles with its angels—domestic love, fruition and desiccation, the passion for words that will suffice at bringing to light and shadow ground between the inner and outer life.
W. S. Di Piero is one of the most capable and wide-ranging poet-critics of his generation. His essays are contemplative, analytical, and interdisciplinary, critical yet arising out of his own artistic practice. Di Piero looks at interrelations between the arts, and at the ways in which the arts express aspects of contemporary culture as well as the individual temperaments and gifts of their makers. These essays are elegant and passionate tributes to the intersection of art and self.
Out of Eden presents the rigorous investigations and musings of a poet-essayist on the ways in which modern artists have confronted and transfigured the realist tradition of representation. Di Piero pursues his theme with an autobiographical force and immediacy. He fixes his attention on painters and photographers as disparate as Cezanne, Boccioni, Pollock, Warhol, Edward Weston, and Robert Frank. There is indeed a satisfying sweep to this collection: Matisse, Giacometti, Morandi, Bacon, the Tuscan Macchiaioli of the late nineteenth century, the Futurists of the early modern period, and the American pop painters. Di Piero's analysis of modern images also probes the relation between new kinds of image making and transcendence. The author argues that Matisse and Giacometti, for example, continued to exercise the religious imagination even in a desacralized age. And because Di Piero believes that the visual arts and poetry live intimate, coordinate lives, his essays speak of the relation of poetry to forms in art. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1991.
W. S. Di Piero, a fresh and powerful voice in American poetry, opens this collection about public and private worlds with poems that revist the deaths of his parents. It is an important adult passage for him, and for them a last chance to leave a message: his father lying in bed, "bemused and contemptuous / of the hell in which he lay"; his mother soon to be laid out in the cheap gold flats "that made her look young and men look twice." Di Piero writes poems of relationships, of ordinary beauty, of the deep, vsieral memories that shape who we become. He reveals the art in the everyday--sometimes literally, as when he spies a Vermeer beauty in a girl with nose studs at the ATM, or Van Gogh's self-portrait in a small-time bookie. Whether describing the uncertainty of sexual love ("...your footpads / wet after a bath / left prints like / our conversations / every which way") or a panhandler in Port Authority ("Show you to your bus / or an excellent candy bar?"), he is delicate and direct at once, a no-nonsense guide to his surroundings who is moved by what he sees. His strong, elegantly simple statements of truths of feeling go beyond the pleasure of the words themselves and restore us to the thrill of honesty in our own lives.
In this rich collection, W. S. Di Piero seeks the spirit and substance of illumination in all its forms. He finds meaning, or shows us how we attempt to do so, in the rituals and events that mark our year–the Fourth of July, Halloween, New Year’s Eve–and in the ordinary activities of mowing, dancing, drinking, trying to stay warm. “The Kiss” recounts how, as a young man, the poet was not called to the priesthood; in “Prayer Meeting,” he recalls watching his mother iron, with her “hopeless routine longing,” and declares, “I wanted more than what I prayed for.” For all their simplicity, Di Piero’s direct, often conversational turns of phrase reveal a world aflame with troubles, with love, with surprising lyrical epiphanies. Didn’t You Say Desire Is like the elephant fog shredded north a white sun going down Bessemers fired through clouds horizoned on my dog-eared stack It feels good and right to waste earnest hours of an early evening’s daylight saving time in uncertainty and want these cranky climates changing in us while we haven’t started dinner yet.
The poems in this, W. S. Di Piero's fifth collection of poetry, are animated by an ancient vision of the human state as existing somewhere between the divine and the bestial; tense with the compulsion toward formal order and the wild yearning after chaos, these are tough poems, gritty and relentless; they indulge neither the reader nor the poet. Their austere lyricism expresses Di Piero's desire for transcendent meaning, and their unflinching attention to natural and cultural history reflects an equally strong instinct for the earthbound.
When a self-proclaimed "lazy scholar" embarks on a trip through his life's influences--as diverse as girl-group doo-wop, Yeats, and Van Gogh--readers are in for an illuminating ride. This collection of essays from cultural critic Di Piero veers from his early years as the son of immigrants in Philadelphia to his working life in art, film, music, and poetry. Along with a few choice essays reprinted from out-of-print collections, Di Piero's new work shows him to be insightful about himself and his work despite his protestations against the "boosterism" of autobiography. Through the lens of his sharp artistic analysis, readers see his story--an immigrant story filled with the music and mystery of a multilingual family, the men of his neighborhood wearing so many hats as they worked--as the auspicious beginning for his life of observation and revelation. His prose sings along, tripping across slang, poetry, and painters with the same precision that allows him to nearly dance about architecture. Though Di Piero would claim that his life's path "lurches and swerves," his essays prove that he has wandered expansively and with purpose--a city dog trotting across continents, along pages, and through galleries.
Shadows Burning is a poetry book that wrestles with its angels—domestic love, fruition and desiccation, the passion for words that will suffice at bringing to light and shadow ground between the inner and outer life.
W. S. Di Piero is one of the most capable and wide-ranging poet-critics of his generation. His essays are contemplative, analytical, and interdisciplinary, critical yet arising out of his own artistic practice. Di Piero looks at interrelations between the arts, and at the ways in which the arts express aspects of contemporary culture as well as the individual temperaments and gifts of their makers. These essays are elegant and passionate tributes to the intersection of art and self.
Austere, and religious without the religion, these lovely poems integrate the physical with the metaphysical, the profane with the sacred, the active with the contemplative, the formalism of style with the immediacy of experience. (RC) Annotation copyrighted by Book News, Inc., Portland, OR
Gerhard Richter's abstractions are profound and beautiful, though perplexing. After all these years, they still present a curious challenge: what, exactly, are they? "Richter 858" explores this question by focusing on one suite of extraordinary pictures painted in 1999, soon after his return to work after a silence caused by a stroke. Both investigation and celebration, this book brings together image, music and text in a uniquely compelling way: contributors include the great guitarist and composer Bill Frisell, two sharp-eyed critics, and a baker's dozen of prominent, award-winning poets. Housed in an aluminum slipcase, this lavish, oversized volume features the largest, most sumptuous, and most accurate reproductions of any Richter work. The eight paintings of the suite are shown at more than half-scale, and also, quite untraditionally, presented unbound on heavy paper in a pocket at the back of the book -- allowing readers to mix, match, and re-present the work for themselves outside the confines of the,printed volume. Forty details from the paintings are also reproduced in large-format, accompanied by the poems and texts. These brilliant passages -- rich in incident and intervention, and ranging from the coolly sublime to the loudly riotous -- make fascinating pictures in their own right. Additionally, a double gatefold opens to show all eight paintings in panoramic view. In essence, "Richter 858" presents an elegant, if raucous, meeting ground for our most important contemporary artist and a diverse chorus of American music, poetry, and criticism.
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