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Books : Literature & Fiction : Authors, A-Z : ( M ) : McHugh, Heather
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The twentieth edition of the Best American Poetry series celebrates the rich and fertile landscape of American poetry. Renowned poet Heather McHugh loves words and the unexpected places they take you; her own poetry elevates wordplay to a species of metaphysical wit. For this year's anthology McHugh has culled a spectacular group of poems reflecting her passion for language, her acumen, and her vivacious humor.Graced with McHugh's fascinating introduction, the book includes the poets' valuable comments on their work, as well as series editor David Lehman's engaging foreword that limns the necessity of poetry. The Best American Poetry 2007 is an exciting addition to a series committed to covering the American poetry scene and delivering great poems to a broad audience.
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A renowned poet's artful collection.
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"When I call poetry a form of partiality," writes Heather McHugh, "I mean its economies operate by powers of intimation: glimmering and glints, rather than exhaustible sums. It is a broken language from the beginning, brimming with non-words: all that white welled up to keep the line from surrendering to the margin; all that quiet, to keep the musics marked." In Broken English, McHugh applies her poetic sensibility and formidable critical insight to topics ranging from the poetry of Valery and Rilke to ancient Greek drama and Yoruba folk songs, offering intense, passionate, highly personal readings that are informed and unified by her concern for the relationships among language, culture, and poetry.
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Paul Celan s widely recognized as the greatest and most studied post-war European poet. At once demanding and highly rewarding, his poetry dominates the field in the aftermath of the Holocaust. This selection of poems, now available in paper for the first time, is comprised of previously untranslated work, opening facets of Celan's oeuvre never before available to readers of English. These translations, called "perfect in language, music, and spirit" by Yehuda Amichai, work from the implied premise of what has been called Intention auf die Sprache, delivering the spirit of Celan's work--his dense multilingual resonances, his brutal broken music, syntactic ruptures and dizzying wordplay.
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Available now in paperback, The Father of the Predicaments is Heather McHugh's first book since Hinge & Sign was selected as a National Book Award finalist and chosen a Best Book of the Year by the New York Times and Publishers Weekly. In this witty and deeply felt collection, McHugh takes her cue from Aristotle, who wrote that "the father of the predicaments is being." For McHugh, being is intimately, though perhaps not ultimately, bound to language, and these poems cut to the quick, delivering their revelations with awesome precision
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Heather McHugh's new book, Eyeshot, is a brooding, visionary work that takes aim at the big questions--those of love and death. The poems suggest that such immensities balance on the smallest details, and that a range of human blindness is inescapable.
The power of this new work comes from its delicate yet tenacious fidelity to the ever-unfolding senses of sense. The poems invite the reader to follow careening words and insights through passages both playful and profound. Her "Fido, Jolted by Jove" reveals the tension endemic to both language and living: "the world itself is worried." Yet the same poem remarks the high price of any reductive fix: "a brain this insecure may need another bolt be driven in it." This movement between anxiety and the human compulsion for order informs Eyeshot's darkly comic, 20/20 acuity.
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Musca Domestica is the common housefly. And housefly is exactly the right metaphor for this poet: from the ordinary things of life--illegible postcards, a view of a hillside wind turbine, and the quiet day spent a home--Christine Hume's poems take flight into a realm of dizzying invention and abundance. This is poetry that rewards the reader's efforts with riches.
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Hammer and Blaze provides a true cross-section of the best contemporary poets writing in North America today. Editors Ellen Bryant Voigt and Heather McHugh have brought together the work of sixty poets who have taught at the Warren Wilson MFA Program for Writers, one of the most respected and influential writing programs of its kind.The stellar group of contributors includes MacArthur fellows Campbell McGrath, Anne Carson, Edward Hirsch, Eleanor Wilner, Susan Stewart, and Lucia Perillo. Also represented here are works by Pulitzer Prize winners Stephen Dunn and Louise Glück; Ruth Lilly Prize winner Carl Dennis; and Robert Wrigley, Thomas Lux, and B. H. Fairchild, winners of the Kingsley Tufts Award. From the couplets of Pablo Medina to the neoclassical lyricisms of Carl Phillips, this anthology appropriately reflects the cross-cultural nature of contemporary North American poetry with its most diverse and prestigious voices. A number of the poems are previously unpublished, including work by Joan Aleshire, Stuart Dischell, Stephen Dobyns, Stephen Dunn, Roland Flint, Carol Frost, Barbara Greenberg, Edward Hirsch, Pablo Medina, Steve Orlen, Gregory Orr, Kathleen Peirce, Kenneth Rosen, Daniel Tobin, Alan Williamson, and Eleanor Wilner.
Hammer and Blaze, a gathering of our best poets, should garner attention from the literary world at large as well as from students of contemporary poetry and creative writing.
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"The narrating voice in Living Room is insistent but quiet, though it sometimes achieves loudness without any apparent effort. At other times it seems to continue in the -reader's mind even after stopping for the day. It is an important new presence, faintly disturbing and endlessly attractive."-John Ashbery
Readers may be voyeurs, but the subtler gifts are not for the fast glancers. Take a good slow second look at Geoff Bouvier's Living Room . . . bravura performances, both accessible and elegant, both immediate and subtle, both hilarious and serious. . . . With virtuoso reversals, switches of vantage, changes of scale, inside-outings, they accomplish metaphysical, not only physical, effects.-from the introduction by Heather McHugh
Each of Geoff Bouvier's prose poems brims with industry and restless attention, and the dramas they contain are manifold. Here a solitary mind and there a whole social sphere are cross-sectioned for observation at moments rife with emotional collisions-awesome tediums, mad reliefs. In style and substance, Living Room enacts the urgency one feels to stretch out against cramped quarters. Introduced by Heather McHugh.
From Savings Plan
To save things, collect them in an unremarkable place-behind a row of history books, in the corner of the garage-where you wouldn't usually look. Then forget about these things completely.
When you remember what you're saving-a photograph of an ex, the fattening candy bars-but forget where you're saving it, you may worry, even curse yourself. But remember how this is your plan, and how the plan is succeeding.
The savings are protected, hidden away, even if you can't find them until many days after a rainy day.Geoff Bouvier holds degrees from the University of Connecticut and from Bard College. He lives in San Diego, where he waits tables at Tapenade Restaurant and publishes journalistic prose with the San Diego Reader.
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Shades is a book of shadow and light cast between trees and sun, between day and room, between life and death. It acknowledges endings as beginnings; it offers compassion and tenderness, searching for hope in the richness of nature; it seeks the same resources within the human being.
Heather McHugh's companion volume to To the Quick (Wesleyan 1987) continues the music and brilliance characteristic of her work but moves more deeply into the metaphysical. She writes in paradox, with serious wit and intensity, the crafted language of "stitches in hand and birds in time"; "We part/ before we part; indeed,/ we part before we meet..." She studies "going matched with coming." She begins with a series of elegies that bring sexuality and death into brutal juxtaposition. Living and dying are the occasions of these poems, the soul the ultimate concern. This poetry takes to heart the fundamental strangeness of being.
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Contributors to this issue include: Mary Jo Bang, Dan Beachy-Quick, Geoff Becker, Brian Blanchfield, Debra Bruce, Lucy Corin, Lisa Croneberg, Olena Kalytiak Davis, Chard deNiord, Timothy Donnelly, Jenny Factor, Ian Ganassi, Debora Greger, Marilyn Hacker (translator), Matt Hart, Bob Hicok, Sean Hopkinson, Jay Hopler, Christine Hume, Catherine Ryan Hyde, R.J. Keeler, Aeron Kopriva, Julie Larios, Vicki Lindner, Claire Malroux, Kathryn Maris, Jerry Mason, Glyn Maxwell, Kevin McFadden, Medbh McGuckian, Matthew McIntosh, D.C. Miller, Eric Miller, Paul Muldoon, Les Murray, Muriel Nelson, Heidi Lynn Nilsson, Geoffrey O'Brien, Linden Ontjes, Julie Orringer, Sharim Rainwater, David Ray, Robin Robertson, Mathew Rohrer, Amanda Schaffer, Thom Schramm, Dani Shapiro, David Shields, Charles Simic, Ron Strauss, Stephanie Strickland, Mark Svenvold, Larissa Szporluk, Gene Tanta, Karen Volkman, Liz Waldner, Joe Wenderoth, Jason Whitmarsh, Eliot Khalil Wilson, Scott Withiam, Dean Young, Martha Zweig
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