By Marilyn Hacker
A range of poems that addresses the quotidian and the worldwide, from considered one of our so much crucial poets.
Drawing on 20 years worthy of award-winning poetry, Marilyn Hacker's beneficiant decisions in A Stranger's replicate comprise paintings from 4 past volumes besides twenty-five new poems, ranging in locale from a solitary bed room to a refugee camp.
In a multiplicity of voices, Hacker engages with translations of French and Francophone poets. Her poems belong to an city international of cafés, bookshops, bridges, site visitors, demonstrations, conversations, and solitudes. From there, Hacker reaches out to different websites and personas: a refugee camp at the Turkish/Syrian border; contrapuntal monologues of a Palestinian and an Israeli poet; intimate and foreign exchanges abbreviated on Skype—perhaps with gunfire within the background.
These poems path via sonnets and ghazals, via sapphics and syllabics, via each historic-organic development, from renga to rubaiyat to Hayden Carruth's "paragraph." each one is usually an implicit dialog with the poets who got here earlier than, or who're writing as we read.
A Stranger's reflect isn't really intended just for poets. those poems belong to an individual who has sought in language an expression and extension of his or her engagement with the world—far off or up shut because the morning's first cup of tea.
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Extra resources for A Stranger's Mirror: New and Selected Poems 1994-2014
The stories are arranged in this order. I have written it for the most part in a style of scrupulous meanness and with the conviction that he is a very bold man who dares to alter in the presentment, still more to deform, whatever he has seen and heard. (Letters II, 134) A month and a half later, in a June 23, 1906, letter to Richards, Joyce summed up the effect that he hoped his writing would have: “It is not my fault that the odour of ashpits and old weeds and offal hangs round my stories. I seriously Reading Joyce’s Poetry against the Rest of the Canon · 41 believe that you will retard the course of civilization in Ireland by preventing the Irish people from having one good look at themselves in my nicely polished looking-glass” (Letters I, 63–64).
It is not a book of love verses at all, I perceive. But some of them are pretty enough to be put to music” (Letters II, 219). These passages have led any number of critics to the conclusion that, within a relatively short time after its completion, Joyce dismissed Chamber Music as little more than apprentice work. Certainly, when viewed alone, these quotations can leave that impression. 2 Earlier in the March 1907 letter to Stanislaus quoted above, Joyce, who had been working in Rome as a clerk for a bank, had written at some length of the creative and intellectual lethargy he was experiencing: “It is months since I have written a line and even reading tires me.
32. Paul A. ” Mays explains that the Joyce estate refused permission to publish many of the occasional poems that he had prepared for inclusion in his volume (x–xi, l–li). 33. As previously noted, Mays argues convincingly that the real reason Joyceans have denigrated the limericks, satires, and doggerel verse is because they “feel more at home with solemnity”; yet “this takes a constrained, solemn view of what verse can encompass, and a view of Joyce’s achievement that is all too narrow” (xxxiv–xxxv).