Too Numerous: Juniper Prize for Poetry
Autor Kent Shawen Limba Engleză Paperback – 14 mar 2019
Grappling with an information culture that is both intimidating and daunting, Kent Shaw considers the impersonality represented by the continuing accumulation of personal information and the felicities—and barriers—that result: “The us that was inside us was magnificent structures. And they weren't going to grow any larger.”
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Specificații
ISBN-13: 9781625344304
ISBN-10: 1625344309
Pagini: 88
Dimensiuni: 178 x 254 x 8 mm
Greutate: 0.17 kg
Ediția:First Edition
Editura: University of Massachusetts Press
Colecția University of Massachusetts Press
Seria Juniper Prize for Poetry
ISBN-10: 1625344309
Pagini: 88
Dimensiuni: 178 x 254 x 8 mm
Greutate: 0.17 kg
Ediția:First Edition
Editura: University of Massachusetts Press
Colecția University of Massachusetts Press
Seria Juniper Prize for Poetry
Notă biografică
KENT SHAW is assistant professor of English at Wheaton College in Massachusetts and author of Calenture, winner of the 2007 Tampa Review Prize. His poems have appeared in The Believer, Ploughshares, Boston Review, and Witness.
Cuprins
Acknowledgments
1. The complicated version of unanimity is actually the quiet kind
Part I
2. The boxes were arranged so they formed a Leviathan
3. I’m sorry if the rain was always making your life more confusing
4. Any man can make love for 40 days, if he’s making love to himself
5. I imagine most molecular arrangements are indifferent to the system they are participating in
6. In praise of discipline
7. A monument designed for upward mobility
8. How high technology might one day be indispensable to our lives
9. Definitions of lucky are too numerous
10. A story from my romantic past. It was full of misgivings.
11. The definition of curtail
12. There were bricks put at brick angles
13. The invention of psychology, a swan song
14. Why God keeps making conviction so easy
15. How we found more useful sayings about fences
16. Now I understand what maturity is. Thank you, wool!
17. People don’t understand what an emotion normally looks like
18. My city is not called Ladders
19. The drapery in most Renaissance paintings needs attendants to keep it in order
20. The history I’m living in right now!
21. What we did about a world that kept getting very loud
22. A marriage procedure that involves quite a bit of my wife
23. Maybe this city needs more men who are not imitations of the man they hate me for not being
24. Really, there is no end to ambition
25. They would excavate stones and then rearrange the stones in a city like they appeared in the earth
26. My fear is that someone would invent a tool to untether me
27. An ellipsis could be what language is like when it’s styrofoam
Part II
28. “I want to give you a spring.” I said to my wife. And my wife only listened.
29. This is how ambition looks when it’s blooming
30. I was born a bass drum. Not a catapult.
31. The definition of OK when you’re only kind of OK
32. To mountainize is a verb
33. The title of this drawing would be “the prime of your life”
34. Actually, this poem belongs to my wife
35. What we do when we want to elect a Frank Lloyd Wright
36. How to rule out probability
37. The sense that balsa wood isn’t really the best decision
38. When your middle age is in the middle beginning
39. A dramatic reenactment to explain why the internet was started
1. The complicated version of unanimity is actually the quiet kind
Part I
2. The boxes were arranged so they formed a Leviathan
3. I’m sorry if the rain was always making your life more confusing
4. Any man can make love for 40 days, if he’s making love to himself
5. I imagine most molecular arrangements are indifferent to the system they are participating in
6. In praise of discipline
7. A monument designed for upward mobility
8. How high technology might one day be indispensable to our lives
9. Definitions of lucky are too numerous
10. A story from my romantic past. It was full of misgivings.
11. The definition of curtail
12. There were bricks put at brick angles
13. The invention of psychology, a swan song
14. Why God keeps making conviction so easy
15. How we found more useful sayings about fences
16. Now I understand what maturity is. Thank you, wool!
17. People don’t understand what an emotion normally looks like
18. My city is not called Ladders
19. The drapery in most Renaissance paintings needs attendants to keep it in order
20. The history I’m living in right now!
21. What we did about a world that kept getting very loud
22. A marriage procedure that involves quite a bit of my wife
23. Maybe this city needs more men who are not imitations of the man they hate me for not being
24. Really, there is no end to ambition
25. They would excavate stones and then rearrange the stones in a city like they appeared in the earth
26. My fear is that someone would invent a tool to untether me
27. An ellipsis could be what language is like when it’s styrofoam
Part II
28. “I want to give you a spring.” I said to my wife. And my wife only listened.
29. This is how ambition looks when it’s blooming
30. I was born a bass drum. Not a catapult.
31. The definition of OK when you’re only kind of OK
32. To mountainize is a verb
33. The title of this drawing would be “the prime of your life”
34. Actually, this poem belongs to my wife
35. What we do when we want to elect a Frank Lloyd Wright
36. How to rule out probability
37. The sense that balsa wood isn’t really the best decision
38. When your middle age is in the middle beginning
39. A dramatic reenactment to explain why the internet was started
Recenzii
“The universe inside Shaw's capacious poems is always expanding and adjusting. Room is made for everything that fits and for everything that doesn't, like a box that defies its squareness. Plain elemental nouns are bent toward abstraction. What might be impersonal, even generic, is made personal and elusive. His poems are limber and lucid and loose-limbed, and endlessly, comically speculative. I love getting lost in them.”—James Haug, author of Riverain
"'A man building stone arches thinks a lot about stone,' writes Kent Shaw, who stacks his sturdy sentences against the erosion not only of signification and identity, but civilization itself. The darkly allegorical world Shaw fashions in these pages, using the most evocative of building materials—bricks, boxes, forests, rabbits, soldiers, oceans, Styrofoam, balsawood, and fire, among other stalwart common nouns—feels as strange and intimate as the inside of one's body. A man inherits a staircase instead of a son. A husband and wife take off their shirts, lie down in separate rooms, and call to each other from across the house. Jesus strikes Judas in the face with a piece of ham. What Shaw writes about human emotions might well be said about his poems: 'They're the shavings of old growth trees"¦ / They're abstract wire sculptures displayed in the corner. / And no one understands what they're for.'"—Suzanne Buffam, author of A Pillow Book
"'A man building stone arches thinks a lot about stone,' writes Kent Shaw, who stacks his sturdy sentences against the erosion not only of signification and identity, but civilization itself. The darkly allegorical world Shaw fashions in these pages, using the most evocative of building materials—bricks, boxes, forests, rabbits, soldiers, oceans, Styrofoam, balsawood, and fire, among other stalwart common nouns—feels as strange and intimate as the inside of one's body. A man inherits a staircase instead of a son. A husband and wife take off their shirts, lie down in separate rooms, and call to each other from across the house. Jesus strikes Judas in the face with a piece of ham. What Shaw writes about human emotions might well be said about his poems: 'They're the shavings of old growth trees"¦ / They're abstract wire sculptures displayed in the corner. / And no one understands what they're for.'"—Suzanne Buffam, author of A Pillow Book