Bøger af Jorie Graham

"e;How I would like to catch the world / at pure idea,"e; writes Jorie Graham, for whom a bird may be an alphabet, and flight an arc. Whatever the occasion--and her work offers a rich profusion of them--the poems reach to where possession is not within us, where new names are needed and meaning enlarged. Hence, what she sees reminds her of what is missing, and what she knows suggests what she cannot. From any event, she arcs bravely into the farthest reaches of mind. Fast readers will have trouble, but so what. To the good reader afraid of complexity, I would offer the clear trust that must bond us to such signal poems as (simply to cite three appearing in a row) "e;Mother's Sewing Box,"e; "e;For My Father Looking for My Uncle,"e; and "e;The Chicory Comes Out Late August in Umbria."e; Finally, the poet's words again: "e;. . . you get / just what you want"e; and (just before that), "e;Just as / from time to time / we need to seize again / the whole language / in search of / better desires."e;--Marvin Bell

It is rare to find in one collection an entire skyline burning and the quiet to follow a single worm, to hear soil breathe--in Jorie Graham's fifteenth poetry collection, you do.Jorie Graham's fifteenth poetry collection, To 2040, opens in question punctuated as fact: "Are we / extinct yet. Who owns / the map." In these visionary new poems, Graham is part historian, part cartographer as she plots an apocalyptic world where rain must be translated, silence sings louder than speech, and wired birds parrot recordings of their extinct ancestors. In one poem, the speaker is warned by a clairvoyant "the American experiment will end in 2030." Graham shows us our potentially inevitable future soundtracked by sirens among industrial ruins, contemplating the loss of those who inhabited and named them. In sparse lines that move with cinematic precision, these poems pan from overhead views of reshaped shorelines to close-ups of a worm burrowing through earth. Here, we linger, climate crisis on hold, as Graham asks us to sit silently, to hear soil breathe. An urgent open letter to the future, with a habit of looking back, To 2040 is narrated by a speaker who reflects on her own mortality--in the glass window of a radiotherapy room, in the first "claw full of hair" placed gently on a green shower ledge. In poems that look to 2040 as both future and event-horizon, we leave the collection warned, infinitely wiser, and yet more attentively on edge. "Inhale. / Are you still there / the sun says to me." And, from the title poem, "what was yr message, what were u meant to / pass on?"

The 1996 Pulitzer winner in poetry and a major collection, Jorie Graham's The Dream of the United Field: Selected Poems 1974-1994 spans twenty years of writing and includes generous selections from her first five books: Hybrids of Plants and of Ghosts, The End of Beauty, Region of Unlikeness,and Materialism.

"A collection of poems by Jorie Graham"--

In Place, Graham explores the ways in which our imagination, intuition, and experience—increasingly devalued by a culture that regards them as "mere" subjectivity—aid us in navigating a world moving blindly towards its own annihilation and a political reality where the human person and its dignity are increasingly disposable. Throughout, Graham seeks out sites of wakeful resistance and achieved presence. From the natural world to human sensation, the poems test the unstable congeries of the self, and the creative tensions that exist within and between our inner and outer landscapes—particularly as these are shaped by language.Beginning with a poem dated June 5th, placed on Omaha Beach, in Normandy—the anniversary of the day before the "historical" events of June 6th—Place is made up of meditations written in a uneasy lull before an unknowable, potentially drastic change—meditations which enact and explore the role of the human in and on nature. In these poems, time lived is felt to be both incipient, and already posthumous. This is not the same as preparing for a death. It is preparing for a life we know we, and our offspring, shall have no choice but to live. How does one think ethically as well as emotionally in such a predicament? How does one think of one's child—of having brought a person into this condition? How does love continue, and how is it supposed to be transmitted? Does the nature of love change?Both formally and thematically poems of ec(h)o-location in space/time, Graham's new poems work to discern "aftermath" from "future"—as the two margins of the form ask us to feel the vertiginous "double" position in which we find ourselves, constantly looking back just as we are forced to try to see ahead.In an era where distrust of human experience and its attendant accountability are pervasive Place calls us, in poems of unusual force and beauty, to re-inhabit and make full use of—and even rejoice in—a more responsive and responsible place of the human in the world.

From pulitzer prize winner Jorie Graham, an indispensable volume of poems selected from almost four decades of workMuch awaited and long needed, From the New World—a sequence of poems from Jorie Graham’s prior eleven books—creates a startlingly fresh trajectory through books whose brilliance and far-reaching innovations have been a significant influence on the landscape of contemporary poetry, both in the United States and abroad. Part spiritual autobiography, part survival manual, From the New World tracks what it is to attempt wakefulness in this our unprecedented historical, social, and ecological crisis. Life as we have known it, both in our persons and on the globe, rises in all its terror and deep mystery from these pages. How are we to be responsible, the book asks; how attend to drastic disappearance and still love? We finally have, in one volume, the stunning story Graham has written to keep both art and the human spirit instantaneously yet enduringly alive.“From the New World is an indispensable addition to any literary library, a tour de force selection of Jorie Graham’s critically important poems to date.”—New York Journal of Books“Graham’s great body of work, summarized in From the New World, her new career-spanning selected poems...has so much in it, more of life and of the world than that of almost any other poet now writing....Graham is to post-1980 poetry what Bob Dylan is to post-1960 rock: She changed her art form, moved it forward, made it able to absorb and express more than it could before. It permanently bears her mark.”—New York Times “Graham’s poems make use of all the old lyric technologies, as ancient as the breath and the beating of the heart—rhythm, the managed intervals of line and stanza, the play of language against silence, and the transformations enacted by metaphor—enlisting them to measure a world of spawning complexity and change. But because she finds herself gauged by the world she gauges, a poetry that would seem almost too fine-grained for politics has become, in the past twenty years or so, a sui-generis account of global ills like species extinction and climate change.”— The New Yorker“Like the greatest filmmakers, Graham is miraculously gifted at tracing those inexplicable moments that carry a thing—a crow, the sun, a snowflake—from stillness to motion, from wholeness to disintegration and back again....I know of no living poet whose work so aligns with their reason for writing; I know of no living poet with a better reason for writing poetry. In Jorie Graham’s vision of a new world, poetry—thought in motion—is faster and more powerful than money, argument, or destruction. Take me there.”—Flavorwire“Graham’s is the best poetry written in English in the last forty years. The achievement of her verse is not only to make something happen: Graham’s poetry is something happening....We will always need to read Jorie Graham, and to read her closely, if we want to understand the last forty years of poetry in America (as well as abroad, where her reputation is only growing)....From the New World is now the place to start.” —Los Angeles Review of Books

[To] the Last [Be] Human collects the four remarkable books Jorie Graham has published with Carcanet since 2008, Sea Change, Place, fast and Runaway.

The New York Times has said that "Jorie Graham's poetry is among the most sensuously embodied and imaginative writing we have," and this new collection is a reminder of how startling, original, and deeply relevant her poetry is. In Sea Change, Graham brings us to the once-unimaginable threshold at which civilization as we know it becomes unsustainable. How might the human spirit persist, caught between its abiding love of beauty, its acknowledgment of continuing injury and damage done, and the realization that the existence of a "future" itself may no longer be assured?There is no better writer to confront such crucial matters than Jorie Graham. In addition to her recognized achievements as a poet of philosophical, aesthetic, and moral concerns, Graham has also been acknowledged as "our most formidable nature poet" (Publishers Weekly). As gorgeous and formally inventive as anything she has written, Sea Change is an essential work speaking out for our planet and the world we have known.

What does it mean to be fully present in a human life? How -- in the face of the carnage of war, the no longer merely threatened destruction of the natural world, the faceless threat of spiritual oversimplification and reactive fear -- does one retain one's capacity to be both present and responsive? And to what extent does our capacity to be present, to be fully ourselves, depend on our relationship to an other and our understanding of and engagement with otherness itself? With what forces does the sheer act of apprehending make us complicit? What powers lord over us and what do we, as a species, and as souls, lord over?These are among the questions Jorie Graham, in her most personal and urgent collection to date, undertakes to explore, often from a vantage point geographically, as well as historically, other. Many of the poems take place along the coastline known as Omaha Beach in Normandy, and move between visions of that beach during the Allied invasion of Europe (whose code name was Operation Overlord) and that landscape of beaches, fields, and hedgerows as it is known to the speaker today. In every sense the work meditates on our new world, ghosted by, and threatened by, competing descriptions of the past, the future, and what it means to be, as individuals, and as a people, "free."

Jorie Graham's collection of poems, Never, primarily addresses concern over our environment in crisis. One of the most challenging poets writing today, Graham is no easy read, but the rewards are well worth the effort. While thematically present, her concern is not exclusively the demise of natural resources and depletion of species, but the philosophical and perceptual difficulty in capturing and depicting a physical world that may be lost, or one that we humans have limited sight of and into. As she notes in "The Taken-Down God": "We wish to not be erased from the / picture. We wish to picture the erasure. The human earth and its appearance. / The human and its disappearance."With a style that is fragmented and somewhat whirling--language dips and darts and asides are taken--Graham stays on point and presents an honest intellect at work, fumbling for an accurate understanding (or description) of the natural world, self-conscious about the limitations of language and perception.

T S. Eliot, Elizabeth Bishop, John Ashbery -- and Jorie Graham. The New Yorker places Ms. Graham in this distinguished line of poets, heralding the Pulitzer Prize winner as a profound voice in American poetry. Now, in her eighth collection, she further enhances her reputation with a book-length sequence of verse that is a stunning work of grandeur.The New Republic writes, "for 'swarm, ' in other words...read 'be born again.' Graham is writing about a spiritual turning point, a new beginning.... Beauty -- that is, the pure sense-perception which has long been a concern for Graham -- is no longer the most important criterion. Now goodness is...[and] the idea of submission, of obedience, without understanding: one must 'yield' before 'hearing the reason' for yielding."

Poems exploring the theme of sexual, emotional, political, and spiritual desire through the eyes of a poet's characters examine the age in which we live, where dreams are not as easy as they once were.

A new collection of poetry from one of our most acclaimed contemporary poets, Pulitzer Prize winner Jorie GrahamIn her formidable and clairvoyant new collection, Runaway, Jorie Graham deepens her vision of our futurity. What of us will survive? Identity may be precarious, but perhaps love is not? Keeping pace with the desperate runaway of climate change, social disruption, our new mass migrations, she struggles to reimagine a habitable presenta nowin which we might endure, wary, undaunted, ever-inventive, counting silently towards infinity. Grahams essential voice guides us fluently as we pass here now into the next-on world, what future we have surging powerfully through these pages, where the poet implores us to the last be human.

New collection and Carcanet's ninth title by the most celebrated living American poet, Jorie Graham.

In her first new collection in five years her most exhilarating, personal, and formally inventive to date Jorie Graham explores the limits of the human and the uneasy seductions of the post-human. Conjuring an array of voices and perspectives from bots to the holy shroud to the ocean floor to a medium transmitting from beyond the grave these poems give urgent form to the ever-increasing pace of transformation of our planet and ourselves. As it navigates cyber life; 3d-printed ?life?; life after death; and biologically, chemically, and electronically modified life, Fast lights up the border of our new condition as individuals and as a species on the brink.

From Erosion:SAN SEPOLCRO Jorie Graham ? . . . . How cleanthe mind is,holy grave. It is this girlby Pierodella Francesca, unbuttoningher blue dress,her mantle of weather,to go intolabor. Come, we can go in.It is beforethe birth of god. No-onehas risen yetto the museums, to the assemblyline bodiesand wings to the open airmarket. This iswhat the living do: go in.It's a long way.And the dress keeps openingfrom eternityto privacy, quickening.Inside, at the heart,is tragedy, the present momentforever stillborn,but going in, each breathis a buttoncoming undone, something terriblynimble-fingeredfinding all of the stops. Jorie Graham grew up in Italy and now lives in northern California.She has received grants from the Ingram-Merrill Foundation, the Bunting Institute, and the John Simon Guggenheim Memorial Foundation.Her first book, Hybrids of Plants and of Ghosts (Princeton, 1980), won the Great Lakes Colleges Association Award as the best first book of poems published in 1980.

The Selected Poems of one of America's most eminent poets.