The Seventy Prepositions (New California Poetry, Volume 10)
Carol Snow's award-winning poetry has been favourite and celebrated as "work of adverse beauty" (Robert Hass), "ever stressed, ever re-framing the body of reference" (Boston Review), instructing us "how brutally self-transforming a verbal motion will be whilst undertaken in solid faith" (Jorie Graham). during this, her 3rd quantity, Snow keeps to mine the language to its so much mysterious depths and to discover the chances its meanings and mechanics carry for definition, transformation, and emotional fact. those poems position us earlier than, and in, language--as we stand sooner than, and in, the area.
The Seventy Prepositions includes 3 suites of poems. the 1st, "Vocabulary Sentences," displays on phrases and truth by means of taking as a proper motif one of these sentences used to check vocabulary talents in trouble-free tuition. The poems of the second one suite, "Vantage," assemble loosely round questions of standpoint and belief. The remaining suite unearths its thought within the jap dry-landscape gardens referred to as karesansui, similar to the well-known rock backyard at Ryoan-ji Temple in Kyoto. right here the poet methods composition as one faces a "miniature Zen garden," deciding upon and positioning phrases instead of stones, officially, accurately, evocatively.
replaced. An instrumentclosed loop. (Melody, readied. A bow, drawn and drawn.) pay attention: whoever intended the melody as soon as, I suggest it now . . . further SAYINGS: COINED ‘ Violinisting’: I leant on it, replaced. — are you able to learn my techniques? forty-one An instrument-closed loop. (Melody, readied. — As but with out timbre. A bow, drawn and drawn.) — Shiver me timbers. hear: whoever intended the melody as soon as, I suggest it now. — . . . my options approximately ‘unison thoughts’? forty two VANTAGE because it occurred I drowned the ants.
Swept—gusts equalled swells— onto the fjord and, supine (stanza shapes and 4 “corner words,” for a time, discernible), fifty one away: ﬂexi- — equalled wavy—but unusually raftlike, creating a stitching (basting) movement, yet much less and not more ‘at hand,’ additionally much less intermittently disappeared, with my- (your-) self—narrative thread— taking care of with due (—until?) expectation . . . fifty two HORIZON: OLYMPIC diversity, WASHINGTON kingdom, AUTUMN 1996 existence masks of George Washington (Morgan Library Exhibition.
Swept—gusts equalled swells— onto the fjord and, supine (stanza shapes and 4 “corner words,” for a time, discernible), fifty one away: ﬂexi- — equalled wavy—but strangely raftlike, creating a stitching (basting) movement, yet much less and not more ‘at hand,’ additionally much less intermittently disappeared, with my- (your-) self—narrative thread— taking care of with due (—until?) expectation . . . fifty two HORIZON: OLYMPIC variety, WASHINGTON kingdom, AUTUMN 1996 lifestyles masks of George Washington (Morgan Library Exhibition.
“. . . —Now, becoming a member of me within the Responsive Reading:”— fifty four So. ‘Following’ within the textual content: Rabbi’s line (cue:), worshipers’ . . . for 3 or 4 phrases on the outset, All:—most— starting examining to listen to themselves [be heard] between, to align; a few “setting the example,” a few slipping in “under conceal of darkness” (i.e., in the course of a vowel, simply skipping a ﬁrst consonant), a few striking again then announcing each notice yet hurriedly, to seize up— changing into certain—(cue:), Rabbi’s . . . With italicized.
at the seashore stones—lightly: now not a lot ‘at’ in it—“where I dream in my little hood with many bells / jangling whilst I’d flip my head”—‘post-traumatic’?— half-deep in reﬂection (a likeness which woke me)—but i like (or, am enjoyed) having stuck my very own . . . to savour catching my innocuous . . . oops—that model of pallor . . . after all, I’d lazed at the dock on the juncture— wood pilings half-sub/bus-ﬂah (the ‘/merged,’ obscured), their remedy liberating its nacre to the water— saltwater sixty three.