The End of the Clockwork Universe: Carnegie Mellon University Press Poetry Series
Autor Fleda Brownen Limba Engleză Paperback – 7 oct 2025
What does it mean to exist in a universe that refuses to stay still? In The End of the Clockwork Universe, Fleda Brown weaves together the vastness of cosmic discovery with the intimate textures of daily life. Ranging from quarks to catalytic converters, snapping turtles to black holes, these poems trace the mysteries of time and perception, offering a voice both unsentimental and deeply compassionate.
With wry humor and unending curiosity, Brown walks the fine line between knowing and not knowing, between order and entropy. Her poems wander through scientific revelation and personal reflection and capture the quiet astonishment of existence. The End of the Clockwork Universe does not seek to solve life’s uncertainties, but sings to them, leaving behind echoes of resilience and the sheer joy of paying attention.
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Specificații
ISBN-13: 9780887487149
ISBN-10: 0887487149
Pagini: 96
Dimensiuni: 140 x 216 x 10 mm
Greutate: 0.14 kg
Editura: Carnegie-Mellon University Press
Colecția Carnegie-Mellon University Press
Seria Carnegie Mellon University Press Poetry Series
ISBN-10: 0887487149
Pagini: 96
Dimensiuni: 140 x 216 x 10 mm
Greutate: 0.14 kg
Editura: Carnegie-Mellon University Press
Colecția Carnegie-Mellon University Press
Seria Carnegie Mellon University Press Poetry Series
Notă biografică
Fleda Brown is a poet and author. Her work has appeared in The Best American Poetry and has won a Pushcart Prize among many other accolades. Her recent memoir is Mortality, with Friends. Her earlier poems can be found in The Woods Are on Fire: New & Selected Poems.
Cuprins
I
11Wild Sweet Pea
12Walk I
14Sunday Morning
18Crime Novels
19The Worst Year in Human History
21Catalytic Converters
23Walk II
25Remains
27Someone Is Walking the Pig
II
31Walking in the Spring Grasses
33Animals Solve Problem of Running
Out of Places to Live
35Walk III
37Dead Flies
38Robin
39Walk IV
40Photo of Two Old Men
41Something About Old Women
43Granddaddy Long Legs
44Black
III
51Ever-Fixéd Mark
IV
63This Week
67Clothesline
68Nighthawks
69All Those Dead Trees
70The Scan
71Ducts
72Walk V
74Fugitive Dust
75Subtitles
76Water Bear, Phylum Tardigrada
77Snapping Turtle
78Wild Turkeys
80Walk VI
81Doctor of the World
82Paper Dolls
83The Graves of My Mother and Brother
84Walk VII
85You Thought You Could Make Things
Be a Certain Way
86Walk VIII
87Bedtime
V
91Walk IX
92The Astrologer
93Walk X
94About the Period
96The Hooded Merganser Cure
11Wild Sweet Pea
12Walk I
14Sunday Morning
18Crime Novels
19The Worst Year in Human History
21Catalytic Converters
23Walk II
25Remains
27Someone Is Walking the Pig
II
31Walking in the Spring Grasses
33Animals Solve Problem of Running
Out of Places to Live
35Walk III
37Dead Flies
38Robin
39Walk IV
40Photo of Two Old Men
41Something About Old Women
43Granddaddy Long Legs
44Black
III
51Ever-Fixéd Mark
IV
63This Week
67Clothesline
68Nighthawks
69All Those Dead Trees
70The Scan
71Ducts
72Walk V
74Fugitive Dust
75Subtitles
76Water Bear, Phylum Tardigrada
77Snapping Turtle
78Wild Turkeys
80Walk VI
81Doctor of the World
82Paper Dolls
83The Graves of My Mother and Brother
84Walk VII
85You Thought You Could Make Things
Be a Certain Way
86Walk VIII
87Bedtime
V
91Walk IX
92The Astrologer
93Walk X
94About the Period
96The Hooded Merganser Cure
Recenzii
"In her essential new collection, The End of the Clockwork Universe, Fleda Brown echoes A. R. Ammons’s statement that 'a poem is a walk,' not only in her sequence of ten 'Walk' poems, but in all the poems, which move with a wandering gait and sensibility, in which 'every step is fearful / but so tender, like walking barefoot on rocks.' The tenderness is distinctly unsentimental, as it leads to reportage from the concrete wisdom of the senses. We associate the walk-poem with the natural world, and Brown is brilliantly adept at witnessing it, with humor and heartache, from the sweet pea to the snapping turtle, spring grasses to black holes, extending to us the awareness that much of what we tell ourselves about the world is projection, which comes 'bouncing back at us / like a mirror, while the tree or whatever goes on being / itself.' Brown is buoyed by the fact that things themselves go on without us and without our poems. 'You can only walk so long / before you start trying to fix the world, or yourself, / or you start thinking of the walk as medicinal, / or a quest, Dante-esque.' She comes to something else, here, a sort of empathic neutrality, even with a pile of dead flies, even as she contends with breast cancer. It is an awareness of delicate immensity and hopeless generosity. 'You’re not so much giving / a poem but singing like the cricket,' she writes, 'not because you’re headed hopelessly / downriver, but who’s left to sing, if not you?'”
"How to begin praising the poems of this astonishing collection? With their capacious embrace of so much of the universe (catalytic converter theft, Halley’s comet, Oompa-Loompas, Finnish movies, quark physics . . .) that they finally become the universe? With their wry and courageous dead-on look at aging and at the body’s betrayals? With their introduction to 'Fleda-speak,' where the language you and I commonly use takes jaw-dropping turns like the staircase corners in Escher’s art? Yes, how? Well, I can answer that: Begin your praise with the book’s first poem, then every poem thereafter."
"Vitality and entropy, knowledge and mystery—The End of the Clockwork Universe delves into the biggest of things. And yet Fleda Brown’s inquiries are always grounded in what’s creatural and close, in dailiness steeped in illumination. Often arriving at the truth that 'nothing can be absolutely solved,' Brown’s poems nonetheless keep looking, asking, and wondering. In a body of work that is now magisterial in its accomplishment, Brown has repeatedly shown that attention is at the heart of poetry. Attention to the real, to language, and to the imagination that transits between them. 'Instead of / answers,' one poem rightly claims, 'some sort of singing, / Kisses into the void.'”