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Books : Literature & Fiction : Authors, A-Z : ( R ) : Rich, Adrienne
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Anne Bradstreet, the first true poet in the American colonies, wrote at a time and in a place where any literary creation was rare and difficult and that of a woman more unusual still. Born in England and brought up in the household of the Earl of Lincoln where her father, Thomas Dudley, was steward, Anne Bradstreet sailed to Massachusetts Bay in 1630, shortly after her marriage at sixteen to Simon Bradstreet. For the next forty years she lived in the New England wilderness, raising a family of eight, combating sickness and hardship, and writing the verse that made her, as the poet Adrienne Rich says in her Foreword to this edition, "the first non-didactic American poet, the first to give an embodiment to American nature, the first in whom personal intention appears to precede Puritan dogma as an impulse to verse."
All Anne Bradstreet's extant poetry and prose is published here with modernized spelling and punctuation. This volume reproduces the second edition of Several Poems, brought out in Boston in 1678, as well as the contents of a manuscript first printed in 1857. Adrienne Rich's Foreword offers a sensitive and illuminating critique of Anne Bradstreet both as a person and as a writer, and the Introduction, scholarly notes, and appendices by Jeannine Hensley make this an authoritative edition.
Adrienne Rich observes, "Intellectual intensity among women gave cause for uneasiness" at this period--a fact borne out by the lines in the Prologue to the early poems: "I am obnoxious to each carping tongue/ Who says my hand a needle better fits." The broad scope of Anne Bradstreet's own learning and reading is most evident in the literary and historical allusions of The Tenth Muse, the first edition of her poems, published in London in 1650. Her later verse and her prose meditations strike a more personal note, however, and reveal both a passionate religious sense and a depth of feeling for her husband, her children, the fears and disappointments she constantly faced, and the consoling power of nature. Imbued with a Puritan striving to turn all events to the glory of God, these writings bear the mark of a woman of strong spirit, charm, delicacy, and wit: in their intimate and meditative quality Anne Bradstreet is established as a poet of sensibility and permanent stature.
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A reissue of the classic Adrienne Rich selection, revised and expanded to cover the entirety of her career, with a new Introduction.The Fact of a Doorframe is the ideal introduction to Rich's opus, from her formative lyricism in A Change of Word (1951), to the groundbreaking poems of Diving into the Wreck (1973), to the searching voice of Fox (2001).
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This is a reissue in a new format of a book of verse by Adrienne Rich, whose "Collected Early Poems 1950-1970" was chosen as one of the Top Twenty titles for the Feminist Book Festival, Britain's annual celebration of the best of women's writing.
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"Trust Rich, a clarion poet of conscience, to get the fractured timbre of the times just right."—Booklist, starred review
In this new collection Adrienne Rich confronts dislocations and upheavals in the United States at the beginning of the twenty-first century. The title poem, in a young schoolteacher's voice, evokes the lessons that children ("Not of course here") learn amid violence and hatred, "when the whole town flinches / blood on the undersole thickening to glass." "Usonian Journals 2000" intercuts faces and conversations, building to a dystopic/utopic vision. Throughout these fierce and musical poems, Rich traces the imprint of a public crisis on individual experience: personal lives bent by collective realities, language itself held to account.
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These essays trace a distinguished writer's engagement with her time, her arguments with herself and others. "I am a poet who knows the social power of poetry, a United States citizen who knows herself irrevocably tangled in her society's hopes, arrogance, and despair," Adrienne Rich writes. The essays in Arts of the Possible search for possibilities beyond a compromised, degraded system, seeking to imagine something else. They call on the fluidity of the imagination, from poetic vision to social justice, from the badlands of political demoralization to an art that might wound, that may open scars when engaged in its work, but will finally suture and not tear apart. This volume collects Rich's essays from the last decade of the twentieth century, including four earlier essays, as well as several conversations that go further than the usual interview. Also included is her essay explaining her reasons for declining the National Medal for the Arts.
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A new volume from Adrienne Rich, recipient of the National Book Foundation's 2006 Medal for Distinguished Contribution to American Letters.
Telephone Ringing in the Labyrinth is one of Adrienne Rich's most unpredictable and evocative collections. In the folk/blues tradition behind "Rhyme," in the incantatory pattern of "Behind the Motel," in the voices from past and present in "Letters Censored, Shredded, Returned to Sender or Judged Unfit to Send," in the dystopic scenes and intimate encounters of "Draft # 2006," in the mysterious negotiations of the title poem, the tempos and moods of this book constantly vary. Here, Rich draws on the artistic means of a lifetime.
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For 30 years, Rich's poetry has revealed the individual personal life--sexualities, loves, damages, struggles--as inseparable from a wider social condition, a world with others, in which the empowering of the disempowered is increasingly the source of hope. Time's Power shows Rich writing with unprecedented range, complexity and authority.
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In the traditional of great literary manifestos, Norton is proud to present this powerful work by Adrienne Rich.
With passion, critical questioning, and humor, Adrienne Rich suggests how poetry has actually been lived in the world, past and present. In this essay, which was the basis for her speech upon accepting the National Book Foundation's Medal for Distinguished Contribution to American Letters, she ranges among themes including poetry's disparagement as "either immoral or unprofitable," the politics of translation, how poetry enters into extreme situations, different poetries as conversations across place and time. In its openness to many voices, Poetry and Commitment offers a perspective on poetry in an ever more divided and violent world.
"I hope never to idealize poetry—it has suffered enough from that. Poetry is not a healing lotion, an emotional massage, a kind of linguistic aromatherapy. Neither is it a blueprint, nor an instruction manual, nor a billboard."
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In this volume, Adrienne Rich pursues her signature themes and takes them further: the discourse between poetry and history, interlocutions within and across gender, dialogues between poets and visual artists, human damages and dignity, and the persistence of utopian visions. Here Rich continues taking the temperature of mind and body in her time in an intimate and yet commanding voice that resonates long after an initial reading. Fox is formidable and moving, fierce and passionate, and one of Rich's most powerful works to date.
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THE VOICE OF THE POET
A remarkable series of audiobooks, featuring distinguished twentieth-century American poets reading from their own work. A first in audiobook publishing--a series that uses the written word to enhance the listening experience--poetry to be read as well as heard. Each audiobook includes rare archival recordings and a book with the text of the poetry, a bibliograohy, and commentary by J. D. McClatchy, the poet and critic, who is the editor of The Yale Review.
"Hearing poetry spoken by the poet is always a unique illumination. This series opens our ears to some of the most passionate utterances and enthralling performances ever recorded."--Seamus Heaney, Nobel Prize winner, Poetry
"There has been a great need for a well-edited audio series for poetry, with high literary and technical quality. J. D. McClatchy has filled this need with great style."--Robert Pinsky
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A seventh volume of poetry involves a search to discover and reclaim what has been lost, forgotten, or unexplored. Reissue. NYT.
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Companion Spider is the accumulated work of a poet and translator who goes more deeply into the art and its process and demands than anyone since Robert Duncan. Clayton Eshleman is one of our most admired and controversial poets, the translator of such great international poets as Cesar Vallejo, Aime Cesaire and Antonin Artaud, and founder and editor of two important literary magazines, Sulfur and Caterpillar. As such, Eshleman writes about the vocation of poet and of the poet as translator as no one else in America today; he believes adamantly that art must concern itself with vision, and that poets learn best by an apprenticeship that is a kind of immersion in the work of other poets.
Companion Spider opens with a unique eighty page essay called "Novices: A Study of Poetic Apprenticeship" addressed to the poet who is just starting out. Subsequent sections take up the art of translation, poets and their work, and literary magazine editing. The title is drawn from an extraordinary visionary experience which the author had, which becomes a potent metaphor for the creative process. Through the variety of poets and artists to whom he pays homage, Eshleman suggests a community which is not of a single place or time; rather, there is mutual recognition and responsiveness, so that the reader becomes aware of a range of artistic practices s/he might explore
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