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American Poets Continuum #87: Model Homes

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Synopses & Reviews

Publisher Comments:

Wayne Koestenbaum knows how to drop the language in the blender of the imagination and hit frappe! The 13 ottava rima cantos in Model Homes present a neo-Freudian tale of the goings-on in the poet’s present home and various events from his childhood. Modulating a voice that is urbane and ribald, melancholic and wry, Koestenbaum puts a memorable spin on the status quo notion of domestic arrangements.

Wayne Koestenbaum holds a Ph.D. in English from Princeton University. He was co-winner of the 1989 Discovery/The Nation poetry contest, has published three books of poetry and three books of prose, and writes frequently for The New York Times Magazine, The London Review of Books and other periodicals. He lives in New York, NY.

Review:

"In the 'Warm-Up' to this Don Juan — inspired paean to domestic life, Koestenbaum (The Queen's Throat, etc.) laconically substitutes 'I lack a subject' for Byron's 'I want a hero.' Stanza, in Italian, means 'room,' and Koestenbaum throughout takes up abode in Byron's famous eight-line rhyming iambic pentameter. Through 13 cantos comprising varying numbers of stanzas, Koestenbaum runs through a California childhood, rubdowns by New York bodyworkers, piano practice, fear of inadequacy, meals mundane and elaborate, imaginings of origins ('I hear my own conception/ when Mother felt the gush from Dad's erection') and blissful union with partner Steve. That Koestenbaum's jokes are purposefully flat ('I've erred. Now, Steve is marinating a steak./ To help peel Yukon Golds, I'll take a break') is only part of the ways in which he separates himself from his 19th-century precursor. An even more constant presence here, though, is the poet's mother, a poet 'who has a grief-prone heart,/ Who bore four children, gave up her art/ At least until I was in high school,' and whose moods and modes the poet knowingly carries as further model homes, if involuntarily. At its best, this lovely, ambitious long poem most resembles A.R. Ammons's baggy, daily Tape for the Turn of the Year, but it's still Byronic enough to lodge itself 'Between a Pagliaccio and a Puck/ Dying to give King Oberon a suck.'" Publishers Weekly (Copyright 2004 Reed Business Information, Inc.)

Synopsis:

Urbane, ribald, melancholic and wry, Koestenbaum puts a memorable spin on the status quo notion of domestic arrangements.

About the Author

Wayne Koestenbaum holds a B.A. from Harvard and a Ph.D. in English from Princeton University. After being named co-winner of the 1989 Discovery/The Nation poetry contest, he published his first book of verse, Ode to Anna Moffo and Other Poems, which was chosen as one of The Village Voice Literary Supplement's "Favorite Books of 1990." He has since published two other books of poetry and three books of prose, including a collection of essays, Cleavage: Essays on Sex, Stars, and Aesthetics (Ballantine, 2000). He is a tenured Professor of English at the Graduate Center of the City University of New York.

Product Details

ISBN:
9781929918560
Author:
Koestenbaum, Wayne
Publisher:
BOA Editions
Author:
Koestenbaum, Wayne
Author:
Wayne Koesten
Author:
Baum
Subject:
General
Subject:
American - General
Subject:
General Poetry
Subject:
Poetry-A to Z
Subject:
Single Author / American
Copyright:
Edition Description:
Trade Paper
Series:
American Poets Continuum Series
Series Volume:
87
Publication Date:
October 2004
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Pages:
96
Dimensions:
9 x 6 x 0.3 in 5 oz

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Related Subjects

Fiction and Poetry » Poetry » A to Z

American Poets Continuum #87: Model Homes New Trade Paper
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Product details 96 pages BOA Editions - English 9781929918560 Reviews:
"Publishers Weekly Review" by , "In the 'Warm-Up' to this Don Juan — inspired paean to domestic life, Koestenbaum (The Queen's Throat, etc.) laconically substitutes 'I lack a subject' for Byron's 'I want a hero.' Stanza, in Italian, means 'room,' and Koestenbaum throughout takes up abode in Byron's famous eight-line rhyming iambic pentameter. Through 13 cantos comprising varying numbers of stanzas, Koestenbaum runs through a California childhood, rubdowns by New York bodyworkers, piano practice, fear of inadequacy, meals mundane and elaborate, imaginings of origins ('I hear my own conception/ when Mother felt the gush from Dad's erection') and blissful union with partner Steve. That Koestenbaum's jokes are purposefully flat ('I've erred. Now, Steve is marinating a steak./ To help peel Yukon Golds, I'll take a break') is only part of the ways in which he separates himself from his 19th-century precursor. An even more constant presence here, though, is the poet's mother, a poet 'who has a grief-prone heart,/ Who bore four children, gave up her art/ At least until I was in high school,' and whose moods and modes the poet knowingly carries as further model homes, if involuntarily. At its best, this lovely, ambitious long poem most resembles A.R. Ammons's baggy, daily Tape for the Turn of the Year, but it's still Byronic enough to lodge itself 'Between a Pagliaccio and a Puck/ Dying to give King Oberon a suck.'" Publishers Weekly (Copyright 2004 Reed Business Information, Inc.)
"Synopsis" by ,
Urbane, ribald, melancholic and wry, Koestenbaum puts a memorable spin on the status quo notion of domestic arrangements.
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