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2 Remote Warehouse Poetry- A to Z

A Table of Content

by

A Table of Content Cover

 

Synopses & Reviews

Publisher Comments:

Dorothea Tanning has lived one life as an exceptional visual artist, and now in her nineties, she is living another life as an exceptional poet. In A Table of Content, Tanning imagines and realizes a collage of surreal wit, formal inventiveness, and urban and whimsical visuals. "Oh, we were primed like canvas," she writes in one poem, and every page in this remarkable debut becomes a unique experience to gaze and wonder with this artist's imaginative, roving eye. We are made to see more clearly, more forcefully the city landscape, the creative impulse, and the worlds of potential disaster and sensual erotics with a vision that survives taste, trend, and time.

Review:

"This internationally known painter and sculptor's debut collection is a curious mix of numerous styles: confessionalism, Whitmanic declaration, a self-containment worthy of Merrill. The stance that speaks loudest is a straightforward, unmannered approach to the deconstruction of icons, references and symbols: 'He told us, with the years, you will come/ to love the world./ And we sat there with our souls in our laps,/ and comforted them.' Elsewhere, Tanning's methods draw on Surrealism; that is no surprise, given her lifelong dialogue with the movement in her painting and her marriage to Max Ernst. (A poem dedicated to M.E. refers to Ernst's La Femme 100 Tetes.) Her speaker's tone throughout is tinged with regret — at loss of opportunity, vitality, love — making the poems quieter at heart than some of their jagged surfaces first suggest. At moments of greatest directness, Tanning can dip into clich, as when noting that 'In French death is feminine,' or that Merce Cunningham's dancers make '5 barely believable/ bodies/ become/ 1 thought.' But more often than not in this marvelous miscellany, she pulls it off; 'Time Flew' describes the whole arc of affection in a moment of eye contact: 'What they saw/ would have no end, both knew.' (June)" Publishers Weekly (Copyright 2004 Reed Business Information, Inc.)

Review:

"Some would call these poems collages, finery glued into dreamy images. But I prefer to call the whole of them a kaleidoscope — angled feelings and dappled ideas constantly shape-shifting into remarkable new patterns, by turns giddy and grave. And when you put the little device down, you realize you've all along been looking at your own life, grandly re-imagined by a master. Dorothea Tanning's verbal wizardry is a constant surprise, an abiding delight, and readers who sit down to A Table of Content can expect to stand up more strangely themselves. She wears her soul on her sleeve, and it shines, it shines!" J. D. McClatchy

Synopsis:

The extraordinary first poetry collection by the renowned painter and sculptor Dorothea Tanning
"Finally, on second, in bras. Bras swarming everywhere,
"giant pink moths at rest, their empty cups clamoring,
""Fill me."
-from "End of the Day on Second"
Dorothea Tanning is an exceptional visual artist, and now, in her nineties, she has become an exceptional poet. In "A Table of Content, we are made to see more clearly the city landscape, the creative impulse, and the worlds of potential disaster and sensual erotics with a vision that survives taste, trend, and time.

Synopsis:

The extraordinary first poetry collection by the renowned painter and sculptor Dorothea Tanning

Finally, on second, in bras. Bras swarming everywhere,

giant pink moths at rest, their empty cups clamoring,

"Fill me."

-from "End of the Day on Second"

Dorothea Tanning is an exceptional visual artist, and now, in her nineties, she has become an exceptional poet. In A Table of Content, we are made to see more clearly the city landscape, the creative impulse, and the worlds of potential disaster and sensual erotics with a vision that survives taste, trend, and time.

About the Author

Dorothea Tanning was born in 1910. She is the author of a memoir, Between Lives: An Artist and Her World, and her poetry has appeared in Boston Review, The New Yorker, The Paris Review, and Best American Poetry 2000. She lives in New York.

Product Details

ISBN:
9781555974022
Author:
Tanning, Dorothea
Publisher:
Graywolf Press
Subject:
General
Subject:
General Poetry
Subject:
Poetry-A to Z
Subject:
Single Author / American
Publication Date:
20040631
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Pages:
72
Dimensions:
9.04 x 6.06 x 0.29 in

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Related Subjects

Fiction and Poetry » Poetry » A to Z

A Table of Content New Trade Paper
0 stars - 0 reviews
$13.50 In Stock
Product details 72 pages Graywolf Press - English 9781555974022 Reviews:
"Publishers Weekly Review" by , "This internationally known painter and sculptor's debut collection is a curious mix of numerous styles: confessionalism, Whitmanic declaration, a self-containment worthy of Merrill. The stance that speaks loudest is a straightforward, unmannered approach to the deconstruction of icons, references and symbols: 'He told us, with the years, you will come/ to love the world./ And we sat there with our souls in our laps,/ and comforted them.' Elsewhere, Tanning's methods draw on Surrealism; that is no surprise, given her lifelong dialogue with the movement in her painting and her marriage to Max Ernst. (A poem dedicated to M.E. refers to Ernst's La Femme 100 Tetes.) Her speaker's tone throughout is tinged with regret — at loss of opportunity, vitality, love — making the poems quieter at heart than some of their jagged surfaces first suggest. At moments of greatest directness, Tanning can dip into clich, as when noting that 'In French death is feminine,' or that Merce Cunningham's dancers make '5 barely believable/ bodies/ become/ 1 thought.' But more often than not in this marvelous miscellany, she pulls it off; 'Time Flew' describes the whole arc of affection in a moment of eye contact: 'What they saw/ would have no end, both knew.' (June)" Publishers Weekly (Copyright 2004 Reed Business Information, Inc.)
"Review" by , "Some would call these poems collages, finery glued into dreamy images. But I prefer to call the whole of them a kaleidoscope — angled feelings and dappled ideas constantly shape-shifting into remarkable new patterns, by turns giddy and grave. And when you put the little device down, you realize you've all along been looking at your own life, grandly re-imagined by a master. Dorothea Tanning's verbal wizardry is a constant surprise, an abiding delight, and readers who sit down to A Table of Content can expect to stand up more strangely themselves. She wears her soul on her sleeve, and it shines, it shines!"
"Synopsis" by , The extraordinary first poetry collection by the renowned painter and sculptor Dorothea Tanning
"Finally, on second, in bras. Bras swarming everywhere,
"giant pink moths at rest, their empty cups clamoring,
""Fill me."
-from "End of the Day on Second"
Dorothea Tanning is an exceptional visual artist, and now, in her nineties, she has become an exceptional poet. In "A Table of Content, we are made to see more clearly the city landscape, the creative impulse, and the worlds of potential disaster and sensual erotics with a vision that survives taste, trend, and time.
"Synopsis" by ,
The extraordinary first poetry collection by the renowned painter and sculptor Dorothea Tanning

Finally, on second, in bras. Bras swarming everywhere,

giant pink moths at rest, their empty cups clamoring,

"Fill me."

-from "End of the Day on Second"

Dorothea Tanning is an exceptional visual artist, and now, in her nineties, she has become an exceptional poet. In A Table of Content, we are made to see more clearly the city landscape, the creative impulse, and the worlds of potential disaster and sensual erotics with a vision that survives taste, trend, and time.

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