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The Long Answer
The Long Answer gleans from David Keplinger's five previous poetry collections, covering two decades of his engagement with the lyric narrative. Through echoes of Dickinson, Rimbaud, William Blake, and the French prose poet Max Jacob, as well as a host of other European and American voices, this volume maps the ongoing "long answer" to the poet's individual inquiries about family, influence, and originality while at the same time tapping the source and substance of a more far-flung, philosophical problem. How is one life both distinct from and the sum of lives that came before? How does one disentangle oneself from the illusion of separateness? Culling together the best work from those previous years, and with nearly forty new pages of material, The Long Answer seeks a question, in Keplinger's title poem, "so old, no one remembers/ what was asked for/in the first place, /and which leaves us . . . /with only each other." His work, here, and historically, seeks less to alter thinking than to undrape it, where poetry can be the means of remembering what we are.
Ice
In Siberia’s Yakutia region, animal remains up to fifty thousand years old have reemerged due to climate change. Ice is an index of findings from the places most buried by time—in permafrost or in memory—and their careful excavations. “I am asking how much more / I have to learn from this,” David Keplinger writes. “You are asking that same question.” As Earth’s ancient ephemera floats to its rapidly liquifying surface, he turns to our predecessors—animal, hominid, literary, and familial. Visitants arrive in the form of Gilgamesh, “searching for a way to stay in pain forever”; a grandmother mending socks, “her face in the dark unchanging”; Emily Dickinson, lingering ...
The World to Come
Poetry. THE WORLD TO COME by David Keplinger, the author of seven books of poetry, is the winner of the third annual Minds on Fire Open Book Prize awarded by Conduit Books & Ephemera. A dazzling collection of prose poems THE WORLD TO COME imagines the future while honoring the prose poem's rich tradition.
The Prayers of Others
The U.S. merchant marine played a critical, though often overlooked, role in World War II. This historical text provides a brief narrative of each of the recorded attacks on American-flagged merchant ships, as well as an accounting of the men and the ships, which were a part of this worldwide conflict. In addition to the wealth of data on the ships, their crews and cargoes, this text depicts the exciting and often violent story of the hundreds of enemy attacks on convoys and lone merchant vessels. Evident within the narrative is the gallantry and sacrifice of naval gun crews and the merchant crewmen.
Another City
WINNER OF THE UNT RILKE PRIZE How does it feel to experience another city? To stand beneath tall buildings, among the countless faces of a crowd? To attempt to be heard above the din? The poems of Another City travel inward and outward at once: into moments of self-reproach and grace, and to those of disassociation and belonging. From experiences defined by an urban landscape—a thwarted customer at the door of a shuttered bookstore in Crete, a chance encounter with a might-have-been lover in Copenhagen—to the streets themselves, where “an alley was a comma in the agony’s grammar,” in David Keplinger’s hands startling images collide and mingle like bodies on a busy thoroughfare. Y...
The Most Natural Thing
Poetry. THE MOST NATURAL THING is like a series of x-rays symmetrical square boxes made of language, in which language is describing the anatomy of one body, and this body becomes a container of information about science, myth, memory, history, and dream. Think about a community of trees all sharing one clump of tangled roots underground, a kind of heart though above ground they seem to be separate entities. The book looks at what is separate on the surface and tries throughout to find that tangled heart."
The Art of Topiary
"One of the most important German-language poets of the younger generation."--Goethe Institut
The Rose Inside
David Keplinger is a translator of event and emotion with poems that are lyrical, forceful, deeply feeling, and sometimes mysterious. Not everything in our lives is solvable, or knowable -- so much issues from a mere point, like moonlight in a prison cell, or a minnow being lifted from the bait pail to the hook, or a group of Polish soldiers who 'sleep quietly on one another's shoulders.'
House Inspections
"These poems do much more than blur the line between illusion and reality: they evoke that vibrant contradiction of dreaming in which the real and unreal exist in perfect simultaneity."—The Georgia Review Theatre A man performs whole days from his life as a drama, each day at home in his apartment. He goes to great lengths to be as realistic as possible, walking around the apartment and tending to day-to-day business. Only at night, when he sits by himself in the kitchen, does he peek now and then at the window to glimpse his audience. He won't completely abandon the notion that someone is out there. It's like when you stand on the landing, in front of a closed door, and you can't help thi...
Enogfyrre Ting
Poetry. Translated by David Keplinger. "One of the first Carsten René Nielsen poems I translated, now almost twenty years ago, was a little gem called 'X-Ray': 'She uses the tail of a fish skeleton as a fan. Musical tones pour out of her ears and float through the air like droplets; it is a room with no gravity. She dances slowly in place with her three most important tubes: the spine, and the windpipe, and the arms, which work as a balancing rod. Together they form three white lines in the dark. Her face is not seen.'"--from David Keplinger's introduction "The collaborative act is one of simultaneous engagement and removal. While you are the vehicle for this work in the new language, you have to be like the skin of the woman in 'X-Ray,' where only the barest bones of influence shine through. And your face must not be seen. There is something beautiful about the unexpected returns of this work. It would seem that the more invisible one tries to be, the more the benefit to one's own art and one's own life."--from World Cut Out with Crooked Scissors (New Issues, 2007)
