Galway Kinnell's twelfth book of poems is powerful and thrilling. Imperfect Thirst includes beautiful love poems and approaches elemental subjects with a remarkable balance of good nature and holy dread: recollections of childhood, snapshots of impassive cruelty, reflections on art and nature. This energetic collection will prove once again why ...
Galway Kinnell's twelfth book of poems is powerful and thrilling. Imperfect Thirst includes beautiful love poems and approaches elemental subjects with a remarkable balance of good nature and holy dread: recollections of childhood, snapshots of impassive cruelty, reflections on art and nature. This energetic collection will prove once again why Galway Kinnell is one of America's masters of the art.
New. Signed by author. Short remainder mark, right page block. SIGNED Oct. 1, 2011, on receiving the Sarah Josepha Hale Award, Newport NH. Trade paperback (US). Glued binding. 83p. Audience: General/trade. This poetry collection, each previously published in periodicals, includes Galway Kinnell's "Proem" titled "The Pen", his "Sheffield Ghazals" of 5 poems, and about 20 other works including a perspective perhaps on Western Civilization, paraphrasing those whose writings have carried forth. a single poem titled "Holy Shit". For his earlier "Selected Poems" in 1980, Kinnell earned a Pulitzer Prize and a National Book Award. He also has been a MacArthur Fellow. He lives in Vermont.
Publishers Weekly, 1994-09-26 Kinnell (When One Has Lived a Long Time Alone) launches his 12th book of poetry with a witty poem dedicated to ``The Pen''-a pen which, ``like the person who gets out of the truck, goes/ around to the rear, signals to the driver, and calls, `C'mon/ back.'" After that beginning, nearly anyone would follow this writer into the past to his quiet father who ``bent down out of the gloom like a god,'' and later, in another poem, step happily into an imagined future near ``the idea of paradise.'' Kinnell's breadth in the volume astonishes: poems range from an expression of poetic resistance to the fashionable scholarly disinterment of language in ``The Deconstruction of Emily Dickinson,'' to the delicate tableau he creates of a woman caring for her father in ``Parkinson's Disease,'' to his gleefully erudite tribute to excrement in ``Holy Shit.'' Primal themes-love, nature, mortality-emerge in newly compelling forms. In ``Rapture,'' for example, conventional poetic language is abandoned for sensuality's purer rhythms: ``Simile is useless.'' Though at times Kinnell's remarks to himself seem needlessly self-referential, when the poet speaks intimately to us, his voice is unsurpassable. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved
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