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Books : Literature & Fiction : Authors, A-Z : ( C ) : Creeley, Robert
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Although he is best known as a writer of prose, Jack Kerouac was an important poet, his work described by Michael McClure as "startling in its majesty and comedy and gentleness and vision." These eight extended poems, composed between 1954 and 1961, offer exuberant forays into language and consciousness that combine rich imagery, complex internal rhythms, and a reverent attentiveness to the moments.
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This new, compact Selected Poems offers for the first time a balanced survey of Robert Creeley's entire sixty years of poetic accomplishment. It showcases the works that made him one of the most beloved and significant writers of the past century while inviting a new recognition of his enduring commitments, fluency, and power.
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Denise Levertov's Selected Poems delivers in a single accessible volume "one of the essential poets of our time" (Poetry Flash).Culled from two dozen poetry books, and drawing from six decades of her writing life, The Selected Poems of Denise Levertov offers a chronological overview of her great body of work. It is splendid and impressive to have at last a clear, unobstructed view of her ground-breaking poetry—the work of a poet who, as Kenneth Rexroth put it, "more than anyone, led the redirection of American poetry...to the mainstream of world literature."
Described by Publishers Weekly as "at once as intimate as Creeley and as visionary as Duncan," Levertov was lauded as "one of the indispensable poets of our language, one of those few writers to whom it is necessary to pay attention" by The Malahat Review. No poet is more overdue for a single accessible volume; no career could be better to have within easy reach.
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Robin Blaser, one of the key North American poets of the postwar period, emerged from the "Berkeley Renaissance" of the 1940s and 1950s as a central figure in that burgeoning literary scene. The Holy Forest, now spanning five decades, is Blaser's highly acclaimed lifelong serial poem. This long-awaited revised and expanded edition includes numerous published volumes of verse, the ongoing "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 to 2004. Blaser's passion for world making draws inspiration from the major poets and philosophers of our time--from friends and peers such as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and Steve McCaffery to virtual companions in thought such as Hannah Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, among others. This comprehensive compilation of Blaser's prophetic meditations on the histories, theories, emotions, experiments, and countermemories of the late twentieth century will stand as the definitive collection of his unique and luminous poetic oeuvre.
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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.
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Here, in a new selection of 200 poems from five decades, is the distinctive voice of Robert Creeley, reminding us of what has made him one of the most important and affectionately regarded poets of our time.
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By juxtaposing several translations of the same passage from Homer; an elegy from Ovid and lines from Herrick that read like an adaptation of Ovid; or a 15th-century poem about a rooster and a contemporary poem about white chickens, Louis Zukofsky has established a means for judging the values of poetic writing.
A wonderful education for the fledgling poet, this handbook, first published in 1948, is the best elucidation of Zukofsky's "objectivist" premises for recognizing value in specific instances of poetry.
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A selection of innovative poems by the groundbreaking Pulitzer Prize winner.The Selected Poems is a unique selection of Oppen's work from the seven books he published during his lifetime. Edited by one of our most respected contemporary poets, Robert Creeley, who provides an informative introduction, George Oppen's Selected Poems includes Oppen's only known essay, "A Mind's Own Place," as well as "Twenty-Six Fragments" which Oppen wrote on envelopes and scraps of paper and posted to his wall, edited by Stephen Cope. Also incorporated is a helpful chronology and bibliography of his writings by Rachel Blau DuPlessis, celebrated editor of Oppen's letters. On his death, Hugh Kenner wrote, "George Oppen, gentlest of men...prized what took time, found the grain of materials, exacted accuracy." Oppen's Selected Poems is the perfect text for teaching and a remarkable window into a world of lasting light and clarity.
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By Robert Creeley. Artwork by Alex Katz. Text by Merlin James.
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This anthology presents material selected from the collection of Angel Hair magazine and books edited by Anne Waldman and Lewis Warsh between 1966 and 1978. Included are substantial sections of writing--in some cases entire books--from an impressive range of poets including Clark Coolidge, Alice Notley, Hannah Weiner, Robert Creeley, Bernadette Mayer, Kenward Elmslie, Tom Clark, Joanne Kyger, Bill Berkson, Ted Greenwald, Lorenzo Thomas, John Wieners, Joe Brainard, Ron Padgett, as well as Waldman and Warsh, among many others. From the nascent St. Mark's Poetry Project on the Lower East Side of Manhattan to Bolinas and Boulder, Angel Hair published an idiosyncratic cross-section of innovative writing in distinctive format, becoming one of the longest-lived and most influential publishers on the small press scene. The anthology of literary writings is supplemented with brief memoirs by more than twenty writers, and the book also includes an annotated checklist by Aaron Fischer and Steven Clay that comprises a citation and photograph of each of the approximately eighty books, magazines, broadsides and catalogues issued by the Press.
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If youth asks the mirror, "Am I the fairest?" then age, in Robert Creeley's skillful, ironic, and tender voice asks, "Do you remember me?" And the poems of LIFE & DEATH are the mirror's answers--a collage of recollection and salvage, a gathering-in before winter's night.
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The appearance of The Best American Poetry every September is an eagerly awaited rite of fall -- as evidenced by soaring sales and terrific reviews. The popularity of the series is "ample proof that poetry is thriving" (The Orlando Sentinel), and this year's volume will dazzle and delight, instruct and inspire. Under the guiding vision of master poet John Hollander -- one of America's most erudite literary minds -- The Best American Poetry 1998 spotlights the imaginative power and insight of our finest poets at the fin-de-siècle. Diverse in form and method, the poems display an unwavering nobility of expression, maintaining the uncompromising artistic standards essential to The Best American Poetry tradition as it enters its second decade. With a foreword by series editor David Lehman and with comments from the poets illuminating their work, The Best American Poetry 1998 will lead you on an exhilarating and inspiring literary adventure.
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Since its inception in 1988, The Best American Poetry series has achieved brand-name status in the literary world as the preeminent showcase of each year's most important contributions to American poetry. This year's exceptional volume, edited by Robert Creeley, a figure revered across teh wide spectrum of American poetry, features a diverse mix of established masters, rising stars and the leading lights of a younger generation. The pleasure of the poems selected here, Creeley explains in his introduction, is "that they caught my fancy, some almost outrageously, some by their quiet, nearly diffident manner, some by unexpected turns of thought or insight, others by a confident authority and intent." With comments from the poets elucidating their work, a thought-provoking introduction from Creeley, and Lehman's always popular foreword assessing the current state of poetry, The Best American Poetry 2002 will prove as irresistible to new readers as it is indispensable for poetry fans everywhere.
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Whenever I become intrigued by a writer, I tend to read everything I can get my hands on that he or she has written -- including their letters. Correspondence presents the unique opportunity to become closer to your writer. The guard is down, the language is conversational, the ideas fly by fresh and uncrafted by months of revisions. This collection of letters between two of the famous Black Mountain poets bares their souls in everything from writer's block to religions to saving each other's lives through the near-forgotten art of written correspondence.
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"Robert Creeley has created a noble life body of poetry that extends the work of predecessors Pound, Williams, Zukofsky, and Olson and that provides like them a method for his successors in exploring our new American poetic consciousness."—Allen Ginsberg
If I were writing this was the last book of poems completed by Robert Creeley and published during his lifetime (New Directions, 2003). The words that he wrote to describe this book are oddly prophetic: "Age brings experience, not wisdom; age makes time actual—each day another—until there is no more. These poems have been my company, my solace, my feelings, my heart. When they cannot speak it will all be silence." Though Creeley died in 2005, his poems are not silent—they vibrantly continue to embrace life while acknowledging, with no self-pity, the inevitability of death. The message (as he always ended his letters) is "Onward!"
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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 and expanding through the lives and works of Charles Olson, Robert Duncan, Allen Ginsberg, Denise Levertov, and others. 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. On Earth reminds us what has made Robert Creeley one of the most important and affectionately regarded poets of our time.
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Drawn & Quartered documents a collaboration between preeminent American avant-garde poet Robert Creeley and award-winning artist Archie Rand. In Creeley's words: ''The procedure was for Archie to slide me an image on the litho paper. I'd try a take or two to get the feel, writing on a usual sheet of typing paper, then resolve on a particular quatrain, put it with the litho sheet related--and on to the next. So we worked through the afternoon until, finally, all fifty-four poems were finished. Then I copied each poem under its respective image on the litho sheet....I felt as if I had been in some fantastic traffic of narratives, all the echoes and presences and situations--like very real life indeed. I loved the almost baroque feel of the drawings, the echo of old-time illustrations and children's books. Whatever, Archie's sure got me. The rest you can judge for yourself.''
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Allen Ginsberg was one of the bravest and most admired poets of this century. Famous for energizing the Beat Generation literary movement upon his historic encounter with Gregory Corso, Jack Kerouac, and William Burroughs in mid-century New York City, Ginsberg influenced several generations of writers, musicians, and poets. When he died on April 5, 1997, we lost one of the greatest figures of twentieth-century American literary and cultural history. This singular volume of final poems commemorated the anniversary of Ginsberg's death, and includes the verses he wrote in the years shortly before he died.In the title poem of Death & Fame, Ginsberg ponders his life, and, in his own inimitable way, how he would like his funeral arranged and who would be there. He reflects on his life as a celebrity, contemplating past lovers, friends, and fans. In "The Ballad of the Skeletons," Ginsberg shares his always unsettling and controversial thoughts on America's political and social systems. "Things I'll Not Do (Nostalias)," the most poignant poem in the collection, was written just six days before he died. Ginsberg ruminates on the people, places, and events that held importance for him but that he will leave behind. In all of the poems, Ginsberg's signature style and unique perspective are remarkably present as we are allowed one last glimpse into the workings of his mind.
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"So There: Poems 1976-1983" combines three earlier collections of Robe Creeley's work published by New Directions: "Hello, A Journal, February 29-May 3, 1976" (published 1978); "Later" (1979); and "Mirrors" (1983). This first gathering of the poet's later work continues but also stands in contrast to his early poems as presented in the monumental "Collected Poems 1945-1975" (University of California Press, 1982). Few poets have so clear a demarcation of their work. In 1976 Creeley set off to visit nine countries in the Far East, to explore his sense of self in a foreign landscape. He found not only a "company" of fellow beings but also a transformed sense of life and subsequently a new family. He sees today that these three books in a single volume emphasize the "determined change in my life they are the issue of." They record a watershed period when Creeley "moved beyond his early influences to become a unique master" (Publishers Weekly about "Mirrors"). In the essay "Old Poetry," the preface to "So There," Creeley looks back in "the work done" and the work to do: "Stay busy seems to be it." Stating it another way, fellow poet Caroline Kizer wrote that a "characteristic aspect of [Creeley's] genius is the way he gives substance to our ephemeral events: the events, which in accretion, make up our lives" (Washington Post Book World). Creeley would echo another master: "As Pound put it most succinctly, 'one is working on the life vouchsafed...' Here is my own evidence." "So There" records the rites of passage of his own particular life, and in its three volumes, Creeley writes with humility, maturity, and humane intelligence. Truly, as Hugh Kenner said, "he is one of the very few contemporaries with whom is it essential to keep in contact."