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Books : Literature & Fiction : Authors, A-Z : ( S ) : Salter, Mary Jo
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Long the classic anthology of poetry in English, The Norton Anthology of Poetry, Fifth Edition, adds to its wealth of known and loved poems a rich gathering of new poetry. Beginning with Beowulf, newly represented by selections from Seamus Heaney's dazzling translation, and continuing to the present day, The Norton Anthology of Poetry includes 1,100 poems by 250 poets in the Shorter Edition. Many major figures—from Chaucer and Shakespeare to Ashbery and Walcott—have expanded sections, and a range of outstanding younger voices have been newly added. Concise annotations, biographical sketches, an Essay on Versification by Jon Stallworthy, and, new to this edition, an Essay on Poetic Syntax by Margaret Ferguson help readers understand and enjoy the poems.
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Superb new poems from one of the major poets of her generation, along with a selection of the best from Mary Jo Salter’s previous award-winning collections.
In Mary Jo Salter’s poetry we have a unique blend of domestic drama and the grittier wider world. In the title poem, she reimagines the technological simplicities and humanistic verities of the past with a brilliantly disorienting detachment. Here are poems imbued with the violence of modern life—a mother slapping her child on the subway, a child losing everything in the Iraq war—and others that bring a witty luminosity to peacocks in the park, to shoe-shine “thrones” at the airport, and to poetry itself. A tender elegy for the poet Anthony Hecht is followed by poems about the Baroque sculptor Bernini and the German Expressionist painter August Macke, which add to Salter’s already impressive list of poems about image-making. Although in many of the poems Salter looks back wistfully at what is lost, she also sets her sights on the future: "Lord, surprise me with even more to miss," she writes in “Wake-up Call.”
Among the selected older poems are the much-anthologized “Welcome to Hiroshima” and “Boulevard du Montparnasse”; her historical narrative “The Hand of Thomas Jefferson”; and moving elegies for her mother (“Dead Letters”), her friend (“Elegies for Etsuko”), and her psychiatrist (“Another Session”). Here, also, are such light verse delights as “Video Blues” (“My husband has a crush on Myrna Loy”) and “A Morris Dance”; poems that bring a deeper insight into foreign settings and cultures (from “Henry Purcell in Japan” to “Icelandic Almanac” to “The Seven Weepers,” set in the Australian outback of 1845); and poems that reflect on the art of seeing, as in “Young Girl Peeling Apples” and “Trompe l’Oeil.”
A Phone Call to the Future is a powerful reminder and a ringing confirmation of Mary Jo Salter’s remarkable gifts.
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Mary Jo Salter’s sparkling new collection, Open Shutters, leads us into a world where things are often not what they seem. In the first poem, “Trompe l’Oeil,” the shadow-casting shutters on Genoese houses are made of paint only, an “open lie.” And yet “Who needs to be correct / more often than once a day? / Who needs real shadow more than play?”
Open Shutters also calls to mind the lens of a camera—in the villanelle “School Pictures” or in the stirring sequence “In the Guesthouse,” which, inspired by photographs of a family across three generations, offers at once a social history of America and a love story.
Darkness and light interact throughout the book—in poems about September 11; about a dog named Shadow; about a blind centenarian who still pretends to read the paper; about a woman shaken by the death of her therapist. A section of light verse highlights the wit and grace that have long distinguished Salter’s most serious work.
Fittingly, the volume fools the eye once more by closing with “An Open Book,” in which a Muslim family praying at a funeral seek consolation in the pages formed by their upturned palms.
Open Shutters is the achievement of a remarkable poet, whose concerns and stylistic range continue to grow, encompassing ever larger themes, becoming ever more open.
From the Hardcover edition.
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A third collection of poems highlights tones of playfulness, wisdom, compassion, and profundity while following a woman's deeply personal journeys through love, family, place, and time. Reprint.
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This digital document is an article from American Scholar, published by Phi Beta Kappa Society on January 1, 2002. The length of the article is 463 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: After September. (9.11.01).(Poem)
Author: Mary Jo Salter
Publication: American Scholar (Refereed)
Date: January 1, 2002
Publisher: Phi Beta Kappa Society
Volume: 71 Issue: 1 Page: 71(3)
Article Type: Poem
Distributed by Thomson Gale
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This digital document is an article from New Criterion, published by Foundation for Cultural Review on December 1, 1998. The length of the article is 2190 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: "Alternating currents".
Author: Mary Jo Salter
Publication: New Criterion (Magazine/Journal)
Date: December 1, 1998
Publisher: Foundation for Cultural Review
Volume: 17 Issue: 4 Page: 34(1)
Distributed by Thomson Gale
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This digital document is an article from Poetry, published by Modern Poetry Association on February 1, 1999. The length of the article is 514 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: AU PAIR.(poem)
Author: Mary Jo Salter
Publication: Poetry (Refereed)
Date: February 1, 1999
Publisher: Modern Poetry Association
Volume: 173 Issue: 4 Page: 279(1)
Distributed by Thomson Gale
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This digital document is an article from Poetry, published by Modern Poetry Association on February 1, 1999. The length of the article is 1213 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: HOME MOVIES: A SORT OF ODE.(poem)
Author: Mary Jo Salter
Publication: Poetry (Refereed)
Date: February 1, 1999
Publisher: Modern Poetry Association
Volume: 173 Issue: 4 Page: 281(1)
Distributed by Thomson Gale
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This digital document is an article from Poetry, published by Modern Poetry Association on January 1, 1998. The length of the article is 495 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Institute for the hand.(poem)
Author: Mary Jo Salter
Publication: Poetry (Refereed)
Date: January 1, 1998
Publisher: Modern Poetry Association
Volume: v171 Issue: n3 Page: p202(2)
Distributed by Thomson Gale
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Mary Jo Salter’s sparkling new collection, Open Shutters, leads us into a world where things are often not what they seem. In the first poem, “Trompe l’Oeil,” the shadow-casting shutters on Genoese houses are made of paint only, an “open lie.” And yet “Who needs to be correct / more often than once a day? / Who needs real shadow more than play?”
Open Shutters also calls to mind the lens of a camera—in the villanelle “School Pictures” or in the stirring sequence “In the Guesthouse,” which, inspired by photographs of a family across three generations, offers at once a social history of America and a love story.
Darkness and light interact throughout the book—in poems about September 11; about a dog named Shadow; about a blind centenarian who still pretends to read the paper; about a woman shaken by the death of her therapist. A section of light verse highlights the wit and grace that have long distinguished Salter’s most serious work.
Fittingly, the volume fools the eye once more by closing with “An Open Book,” in which a Muslim family praying at a funeral seek consolation in the pages formed by their upturned palms.
Open Shutters is the achievement of a remarkable poet, whose concerns and stylistic range continue to grow, encompassing ever larger themes, becoming ever more open.