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Books : Literature & Fiction : Authors, A-Z : ( H ) : Hecht, Anthony
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This new edition focuses on the Sonnets as poetry--often subtly interlinked in thematic, imagistic and other groupings. The volume also addresses the many questions that have puzzled readers: are the Sonnets autobiographical? What is the nature of the "love" between the "poet," the "youth" and the "Dark Lady?" Can they be identified? When were the Sonnets written and in what order? The volume is introduced by the poet and scholar, Anthony Hecht. The text has been edited and extensively annotated by Gwynne Blakemore Evans. The volume as a whole will appeal to a new generation of students and poetry lovers.
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Anthony Hecht, now in his eightieth year, has earned a place alongside such poets as W. H. Auden, Robert Frost, and Elizabeth Bishop. Here under one cover are his three most recent collections–The Transparent Man, Flight Among the Tombs, and The Darkness and the Light. The perfect companion to his Collected Earlier Poems (continuously in print since 1990), this book brings the eloquent sound of Hecht’s music to bear on a wide variety of human dramas: from a young woman dying of leukemia to the tangled love affairs of A Midsummer Night’s Dream; from Death as the director of Hollywood films to the unexpected image of Marcel Proust as a figure skater.
He glides with a gaining confidence, inscribes
Tentative passages, thinks again, backtracks,
Comes to a minute point,
Then wheels about in widening sweeps and lobes,
Large Palmer cursives and smooth entrelacs,
Preoccupied, intent
On a subtle, long-drawn style and pliant script
Incised with twin steel blades and qualified
Perfectly to express,
With arms flung wide or gloved hands firmly gripped
Behind his back, attentively, clear-eyed,
A glancing happiness.
From the Hardcover edition.
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The fruit of a lifetime's reading and thinking about literature, its delights and its responsibilities, this book by acclaimed poet and critic Anthony Hecht explores the mysteries of poetry, offering profound insight into poetic form, meter, rhyme, and meaning. Ranging from Renaissance to contemporary poets, Hecht considers the work of Shakespeare, Sidney, and Noel; Housman, Hopkins, Eliot, and Auden; Frost, Bishop, and Wilbur; Amichai, Simic, and Heaney. Stepping back from individual poets, Hecht muses on rhyme and on meter, and also discusses St. Paul's Epistle to the Galatians and Melville's Moby-Dick. Uniting these diverse subjects is Hecht's preoccupation with the careful deployment of words, the richness and versatility of language and of those who use it well.
Elegantly written, deeply informed, and intellectually playful, Melodies Unheard confirms Anthony Hecht's reputation as one of our most original and imaginative thinkers on the literary arts.
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Over the past twenty-five years, the Johns Hopkins Poetry and Fiction series has published thirty-one volumes of poetry, beginning in 1979 with John Hollander's Blue Wine and Other Poems. The series was launched with two guiding principles: to publish works of poetry exhibiting formal excellence and strong emotional appeal and to publish writers at all stages of their careers.
Words Brushed by Music gathers the best poems of the past twenty-five years, works that exhibit extraordinary wit, elegance, wisdom born of experience, and mastery of language. Sometimes comic, always moving, these poems reflect the talent of twenty distinctive voices: John Bricuth, John Burt, Thomas Carper, Philip Dacey, Tom Disch, Emily Grosholz, Vicki Hearne, John Hollander, Josephine Jacobsen, X. J. Kennedy, Charles Martin, Robert Pack, Robert Phillips, Wyatt Prunty, Gibbons Ruark, William Jay Smith, Barry Spacks, Timothy Steele, David St. John, and Adrien Stoutenburg. In this anniversary volume, award-winning poet and critic Anthony Hecht reflects on the state of American poetry today.
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In these engaging lectures, the eminent poet Anthony Hecht explores the art of poetry in its own right and in relation to the other fine arts. While the problems he treats entail both philosophic and theoretical discussion, he never allows abstract speculation to overshadow his respect for and delight in the written texts that he introduces --or in the specific examples of painting and music to which he refers. After discussing the links between literature (with special reference to poetry) and painting, and between literature and music, Hecht investigates the theme of paradise and wilderness, especially but not exclusively in The Tempest. He then turns to the question of public and private art: the ways in which all the arts participate in "equivocal and curious balances between private and public modes of discourse," between an exclusive or elitist role and the openly political. Beginning with a discussion of architecture as an illustration of a more general theme of discord and balance, the penultimate lecture probes the inner contradictions of works of art and our reactions to them. The sixth and final piece concerns art and morality, especially the issues involved in public funding of the arts.In writing this book, Anthony Hecht draws on his years of experience as a practicing poet. His books of poems include A Summoning of Stones, Millions of Strange Shadows, The Venetian Vespers, and the Pulitzer Prize-winning The Hard Hours. Most recently he has written The Hidden Law, a critical study of W. H. Auden.
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The poetry of Anthony Hecht has been praised by Harold Bloom and Ted Hughes, among others, for its sure control of difficult material and its unique music and visual precision. This new volume is the fruit of a mellowing maturity that carries with it a smoky bitterness, a flavor of ancient and experienced wisdom, as in this stanza from “Sarabande on Attaining the Age of Seventy-seven”:
A turn, a glide, a quarter-turn and bow,
The stately dance advances; these are airs
Bone-deep and numbing as I should know
by now,
Diminishing the cast, like musical chairs.
Hecht’s verse—by turns lyric and narrative, formal and free—is grounded in the compassion that comes from a deep understanding of every kind of human depredation, yet is tempered by flashes of wry comedy, and still more by innocent pleasure in the gifts of the natural world. Followers of his poetry will recognize an evolution of style in many of these poems—a quiet and understated voice, passing through darkness toward realms of delight.
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Out Late is Scupham's sixth collection of poems. It has at its center a sequence of Shakespeare's A Midsummer Night's Dream. The essential elements of the play--night, violence, identity, and transformation--provide many of the themes of the book, which closes on a lighter note with a set of parodies and pastiches. "Scupham ranks among the most arresting of newer English poets."--Spectator
Peter Scupham is the author of Summer Places and Winter Quarters.
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