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Flight: New and Selected Poemsby Linda Bierds
Synopses & Reviews
From this critically acclaimed and award-winning poet, a stunning volume of new and selected works that display her signature intelligence, depth, and vigorous originality.
Hailed as ?visionary? by The New Yorker and ?radiant? by The New York Times Book Review, Linda Bierds returns with a collection that gives us the best of her astonishing work, and then gives us more: the gift of fifteen new poems. As a poet, she has always shied away from the easy indulgences of confessional poetry, turning her attention instead to the things that unite us in our common humanity? art, science, music, history?and bringing alive people (some famous, some little-known) who have made contributions to these spheres. The new poems are no less vital, transporting the reader from medieval to modern-day Venice to the moon; from anatomical sketches to primitive mapping and early naturalism? returning always to the empathy that guides her work.
These tightly woven poems are linked organically through repeating imagery, reflected and refracted through the prism of Bierds?s singularly rich imagination. Her language itself communicates just as much as this visuality; as Stanley Plumly has said, ?The autobiography of her imagination would only be half as intense were the writing itself less beautiful and clear, less perfect to pitch.?
"The eighth volume and first retrospective from MacArthur winner Bierds (First Hand) makes her powers clear while showing how little her work has changed since the 1980s. She uses the English language as a composer of symphonic music might use an orchestra, taking romantic sighs, noble passages and high-flown trills from a full range of vocabulary and reference. She applies her lyrical, humane sensibility and her way with descriptive language to her own life occasionally, but far more often to the lives of eminent artists, writers, inventors and scientists — Erasmus and Charles Darwin, Thomas Edison, Anton van Leeuwenhoek (who invented the microscope), Marc Chagall, Dr. Tulp (of Rembrandt's Anatomy Lesson), Dorothy Wordsworth, the British physicist and public lecturer Michael Faraday. Ever alert to loss, Bierds finds the human and natural worlds worthy of fragile praise. In her marriage of research with appreciation, Bierds can recall Amy Clampitt, though she may lack Clampitt's range. In one of several new poems set in Venice, Bierds watches 'the sea quickly cast/ its daily mass, herringbone brick by brick.' An older poem sees farmers in an English village grind cow horns into translucent house windows, whose 'moth-wing haze... softened our guests with the gauze light/ of the Scriptures.'" Publishers Weekly (Copyright Reed Business Information, Inc.)
Her poems, with their constantly surprising delicacy and their language rich with insight and a sensuous music, radiate real power and authority and animal presence.” —W. S. Merwin (U.S. Poet Laureate, 20102011)
He is best known for his Thesaurus of English Words and Phrases, but among filmmakers Roget is better known for his explanation of the optical illusion that still bedevils them: Why does a wheel moving forward always seem on film to be running backward? For Linda Bierds, the illusion also refers to our relationship to language, to our belief that words hold something more than their definitions. Why do we strive to articulate the world even as we know this is a shifting and illusory pursuit? Why do we continue to seek perfection, pursue beauty, yearn for immortality? Rogets Illusion offers no answer. It simply shows the striving.
About the Author
Linda Bierds currently teaches at the University of Washington in Seattle. Among her many honors are two National Endowment for the Arts grants, and fellowships from the John Simon Guggenheim, Wolfers-‛Neill, Ingram Merrill, Rockefeller, and John D. and Catherine T. MacArthur foundations. Additionally, she has won the PEN/ West Poetry Award, the Poetry Society of Americ‛s Consuelo Ford Award, and four Pushcart Prizes. Her work has appeared in publications ranging from The New York Times and The New Yorker to Poetry and The Hudson Review.
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