Myles has been called “the rock star of modern poetry.” For their many fans, this book will readily confirm that badge. Others may find For Now bewildering, a labyrinthine ramble with no real payoff. Myles is aware of the risks they’re taking. Literature, they say, “is not a moral project except in this profound aspect of wasting time.” Those who choose to “waste time” with this book should be ready for some surprising, even profound, literary adventures.
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Few of Mistral’s poems have been translated, and she is not as well-known as her fellow Chilean and Nobel Prize winner, Pablo Neruda. But her letters to Doris are now available in English, edited and translated by Velma García-Gorena in 2018, so perhaps her reputation is growing in the English-speaking world.
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Flowers’ poems are slippery things. They slide so smoothly between memory and dream, fantasy and reality, the present and childhood, that I sometimes didn’t notice the transitions. Nor do I think he wants us to know exactly where we are. All experiences are mixed in the solvent of language or superimposed on each other.
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Aaron Smith is not exactly at the other end of the spectrum, but his work is far more flippant, colloquial, and funny. For example, the title poem, “The Book of Daniel,” refers not to the Bible but to the actor Daniel Craig, with whom the poet is apparently obsessed. Smith’s poems can be very risible indeed: …
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IN What Is the Grass, a dazzling and discursive meditation on Walt Whitman’s poetry, Mark Doty sets out to “see and say” all that his attention is drawn to—both the poetic and the personal—“lifting experience in the direction of another dimension of time, where everything I have loved can be known again, more fully, that my joy in it might increase.”
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HOW WE FIGHT for Our Lives is a deeply compelling and personal memoir about growing up black and gay in a world where being either can be challenging, and the combination can be deadly.
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Reading Love Unknown is like touring Bishop’s word-ridden, complex, and stirring worlds. With an atlas and a book of her poems close by, it delivers a highly satisfying ride.
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The manuscript of Poems Written Abroad was unearthed not long ago in a Midwestern university library and is printed here for the first time. It dates from the summer of 1927, when Spender was a mere eighteen years old.
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WHEN Spanish poet Federico García Lorca and American student Philip Cummings first met and became lovers in Madrid in July 1928, they had no idea that their brief liaison would evolve into an intimate relationship that spanned two continents and almost three years. Despite their disparate backgrounds and ages (Lorca was thirty, Cummings 21), they had much in common: …
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McKuen’s turning point coincided with 1967’s Summer of Love, when hippies and other nonconformists took their rebellion against conventional norms into the streets. His stance as a melancholy nonbinary romantic placed him on the more conservative end of the counterculture. It was his ability to connect with the heartaches and longings of countless “ordinary” people that put him in sync with the moment.
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