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2 Burnside Poetry- A to Z

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Synopses & Reviews

Publisher Comments:

One of the finest poets writing today, Grace Schulman finds a sacred radiance in vivid scenes of the city and the sea. The title of this new collection refers to Itzhak Perlman's will to play a violin concerto despite a missing string, which inspires the poet's celebration of life in its fullness and limitations. For her, song imparts endurance: Thelonious Monk evokes Creation when he snaps his fingers "as though to shape the pain into order"; John Coltrane's improvisations embody her own heart's desire to "get it right on the first take"; the wind plays a harp-shaped oak "that has been salt-bleached, cut, whipped to buckle, and has, instead, stood fast"; and her immigrant forebears remember their past by singing prayers on a ship bound for New York.

As in her previous books, Schulman juxtaposes people of different worlds to reveal their unity. "Headstones," which won the American Scholar's Phi Beta Kappa Award for the best poem of 2004, records the isolation of two outsiders, her grandfather Dave and a Montauk sachem, Wyandanch. She percieves the joy shared by Emerson, Beethoven, Turner, and a monk who inked the Bible. At a downtown intersection where churches and a synagogue stand together, the poet recalls that "music soared in quarrels, / moans, blues, calls-and-responses, hymns that rose up / together from stone."

Grace Schulman praises the day even in moments of sorrow, and finds order in art and nature that enables her to stand fast in a threatened world.

Synopsis:

Grace Schulman, already known as "an elegiac, highly original religious lyricist" (Harold Bloom), elegantly weaves between generations and continents in her new collection.

Synopsis:

In this generous selection, Grace Schulman moves from “the altering light” of earthly experience to the possibility of the miraculous. In the celebrated love poem “The Present Perfect,” she sees “wildflowers / poking through gravel cracks in our neighbors driveway / slender but fortunate, built to last their day,” and stanzas about an El Greco painting close with “one beam that God devised, before the / sun, would have shown us the world in one glance.” Schulmans work so far evolves from a vision of unity expressed in her first collection, BURN DOWN THE ICONS. Her second book, HEMISPHERES, opens with a beautiful blessing, and “has that first requisite of poetry — the world comes alive in the work . . . There is nothing familiar about this poets genius” (New York Times Book Review). The selections from FOR THAT DAY ONLY contain vivid scenes of New York in the tradition of Whitman, Crane, and Moore. THE PAINTINGS OF OUR LIVES, Schulmans most recent book, includes a sonnet sequence that calls on the art of many cultures to illuminate the universality of grief. The ten new poems that complete this breathtaking volume attest to this poets gifts for her craft and for the expression of praise.

Synopsis:

Grace Schulmans fourth and Tnest collection, THE PAINTINGS OF OUR LIVES, celebrates earthly things while discovering inner lives. As THE NEW YORKER wrote of her previous book, “Schulmans beautiful poems are deft and intimate without ever becoming confessional.” Here are poems of love and marriage, including a psalm for the poets anniversary and a portrayal of her parents dancing in the Depression. Moving outward, Schulman identiTes with the hungers, sorrows, and joys of Chaim Soutine, Margaret Fuller, Paul Celan, and Henry James. “Prayer,” a Yom Kippur ghazal, is a vision of the unity of warring people.

The title poem embodies the perception that lifes events, though seemingly random, have an order akin to an unseen painting. In a remarkable sonnet sequence, which Marilyn Hacker has praised as “an elegiac masterpiece,” Schulman confronts her mothers death by considering the rites of many cultures, including ancient ritual objects we cherish as art. She regards such concern in light of the Netherlandish painters, who gave “more life to violets, their ‘thisness caught.”

About the Author

GRACE SCHULMAN is the author many acclaimed books of poetry, including Days of Wonder: New and Selected Poems, a Library Journal Best Book of the Year. For her poetry she has received a Guggenheim fellowship, the Aiken-Taylor Award, the Delmore Schwartz Memorial Award, New York Universitys Distinguished Alumni Award, and three Pushcart prizes. Schulman is a distinguished professor of English at Baruch College, CUNY. She is a former director of the Poetry Center (1978-1984) and a former poetry editor of The Nation (1971-2006).

Table of Contents

1

Celebration 3

The Sound 4

Moon Shell 8

Antiques Fair 9

Hurricane 11

Before the Fall 13

Variations on a Line by Whitman 15

Division 16

2

Letter Never Sent 19

Poets Walk, Central Park Mall 23

Street Music, Astor Place 25

Woman on the Ceiling 27

My Fathers Watches 30

Havdalah 33

Charles Street Psalm 35

Walking to Elijah 37

3

Hickories 41

Shadow 42

Yellow 44

Handels Messiah 46

Bells 48

The Last Crossing 50

At the Physical Therapists 52

Danger, 53

4

In Praise of Shards 57

Chauvet 59

Love in the Afternoon 61

The Visit 63

Whelk 65

Green River 68

Fools Gold 69

5

Abbaye de Saint-Benoît-sur-Loire 70

The Night Dancers 75

Cool Jazz 76

At the House of Jackson Pollock 77

Tattoo 79

God Bless the Child 81

100 83

The Printmaker 85

The Unbuilder 87

Product Details

ISBN:
9780544073777
Author:
Schulman, Grace
Publisher:
Mariner Books
Subject:
Single Author / American
Subject:
Poetry-A to Z
Edition Description:
Trade Paper
Publication Date:
20131131
Binding:
TRADE PAPER
Language:
English
Pages:
96
Dimensions:
8 x 5.31 in 1 lb

Related Subjects

Fiction and Poetry » Poetry » A to Z

Without a Claim Used Trade Paper
0 stars - 0 reviews
$9.95 In Stock
Product details 96 pages Mariner Books - English 9780544073777 Reviews:
"Synopsis" by , Grace Schulman, already known as "an elegiac, highly original religious lyricist" (Harold Bloom), elegantly weaves between generations and continents in her new collection.
"Synopsis" by ,
In this generous selection, Grace Schulman moves from “the altering light” of earthly experience to the possibility of the miraculous. In the celebrated love poem “The Present Perfect,” she sees “wildflowers / poking through gravel cracks in our neighbors driveway / slender but fortunate, built to last their day,” and stanzas about an El Greco painting close with “one beam that God devised, before the / sun, would have shown us the world in one glance.” Schulmans work so far evolves from a vision of unity expressed in her first collection, BURN DOWN THE ICONS. Her second book, HEMISPHERES, opens with a beautiful blessing, and “has that first requisite of poetry — the world comes alive in the work . . . There is nothing familiar about this poets genius” (New York Times Book Review). The selections from FOR THAT DAY ONLY contain vivid scenes of New York in the tradition of Whitman, Crane, and Moore. THE PAINTINGS OF OUR LIVES, Schulmans most recent book, includes a sonnet sequence that calls on the art of many cultures to illuminate the universality of grief. The ten new poems that complete this breathtaking volume attest to this poets gifts for her craft and for the expression of praise.
"Synopsis" by ,
Grace Schulmans fourth and Tnest collection, THE PAINTINGS OF OUR LIVES, celebrates earthly things while discovering inner lives. As THE NEW YORKER wrote of her previous book, “Schulmans beautiful poems are deft and intimate without ever becoming confessional.” Here are poems of love and marriage, including a psalm for the poets anniversary and a portrayal of her parents dancing in the Depression. Moving outward, Schulman identiTes with the hungers, sorrows, and joys of Chaim Soutine, Margaret Fuller, Paul Celan, and Henry James. “Prayer,” a Yom Kippur ghazal, is a vision of the unity of warring people.

The title poem embodies the perception that lifes events, though seemingly random, have an order akin to an unseen painting. In a remarkable sonnet sequence, which Marilyn Hacker has praised as “an elegiac masterpiece,” Schulman confronts her mothers death by considering the rites of many cultures, including ancient ritual objects we cherish as art. She regards such concern in light of the Netherlandish painters, who gave “more life to violets, their ‘thisness caught.”

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