Steal Away
Selected and New Poems
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- ¥1,700
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- ¥1,700
発行者による作品情報
Now in paperback, Steal Away presents C.D. Wright’s best lyrics, narratives, prose poems, and odes with new "retablos" and a bracing vigil on incarceration. Long admired as a fearless poet writing authentically erotic verse, Wright—with her Southern accent and cinematic eye—couples strangeness with uncanny accuracy to create poems that "offer a once-and-for-all thing, opaque and revelatory, ceaselessly burning."
from "Our Dust"
You didn’t know my weariness, error, incapacity,
I was the poet
of shadow work and towns with quarter-inch
phone books, of failed
roadside zoos. The poet of yard eggs and
sharpening shops,
jobs at the weapons plant and the Maybelline
factory on the penitentiary road.
"Wright has found a way to wed fragments of an iconic America to a luminously strange idiom, eerie as a tin whistle."—The New Yorker
"Wright shrinks back from nothing."—Voice Literary Supplement
"C.D. Wright is a devastating visionary. She writes in light. She sets language on fire."—American Letters
C.D. Wright has published nine collections of poetry and earned many awards, including the Lannan Literary Award and a Guggenheim Fellowship. She teaches at Brown University and in 1994 was named State Poet of Rhode Island. With her husband, Forrest Gander, she edits Lost Roads Publishers.
PUBLISHERS WEEKLY
Raised in remote Arkansas, Wright fell in when quite young with the charismatic and legendary poet Frank Stanford, whose neosurrealist techniques and sudden death inform her earliest work, included in this seventh full-length book, her first selected. Soon, however, Wright had many other forms and models from Adrienne Rich to Edmond Jab s, from philosophical investigations to yearbook signatures and personal ads. Together and separately, these techniques produced the striking power and variety of String Light (1991), which declared Wright "the poet/ of shadow work and towns with quarter-inch/ phone books," "of yard eggs and/ sharpening shops" and of sex and female physicality, for whom "the body would open its legs like a book." Tremble (1996) confirmed these strengths and added a durable visionary dimension: "As surely as there are crumbs on the lips/ of the blind," one poem began, "I came for a reason." This collection draws liberally on those volumes, as well as the book-length Southern travelogue-cum-prose-poem Deepstep Come Shining (1998), and adds new sets of short poems. Some derive from Mexican retablos (folk-art altarpieces), which they imagine in strenuous, broken-up lines; a final series considers, and sometimes addresses, the incarcerated: "I too love. Faces. Hands. The circumference/ Of the oaks. I confess. To nothing/ You could use. In a court of law." Multicultural (with a Southern orientation) and experimental, challenging and immediately appealing, Wright has a core of fans but could have many more: this book's careful selection from a strong body of work should ensure that they find her.
