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Transcendental Studies
This compelling selection of recent work by internationally celebrated poet Keith Waldrop presents three related poem sequences—"Shipwreck in Haven," "Falling in Love through a Description," and "The Plummet of Vitruvius"—in a virtuosic poetic triptych. In these quasi-abstract, experimental lines, collaged words torn from their contexts take on new meanings. Waldrop, a longtime admirer of such artists as the French poet Raymond Queneau and the American painter Robert Motherwell, imposes a tonal override on purloined materials, yet the originals continue to show through. These powerful poems, at once metaphysical and personal, reconcile Waldrop's romantic tendencies with formal experimentation, uniting poetry and philosophy and revealing him as a transcendentalist for the new millennium.
Light While There Is Light
One of the unheralded masterpieces of twentieth-century American fiction, Light While There Is Light is acclaimed poet Keith Waldrop's autobiographical novel about the myriad ghosts left behind by his family Born to a deeply religious mother, the narrator and his siblings are led across the US as she searches for the "right" religious sect—a trip that ends with her speaking in tongues, and finally her total isolation. But no synopsis can do justice to the beauty of Keith Waldrop's measured, wise, and unembroidered prose, illuminating the fear, madness, and destruction within hearth and home—though never repudiating his love for same. In a tradition that stretches back through Flannery O'Connor and William Faulkner to Hawthorne, Melville, and Poe, Keith Waldrop and Light While There Is Light are American treasures.
Several Gravities
For nearly four decades, Keith Waldrop has been creating a lyrical body of visual art that mirrors his extraordinary oeuvre of poetry, fiction, and translation. Like his collage poems, Waldrop's visual works are enveloped in quiet tensions and ghosted impressions. They construct densities of atmosphere and architecture, drift and dream. Rich in textual and visual play, romantic and contradictory in their shapings, his collages use traces of memory to gesture toward the absent and the invisible. Edited and with an essay by Robert Seydel, Several Gravities features a substantial selection of these radiant collages in a full color, hardcover edition, and includes a previously unpublished serial poem as well as an essay by Waldrop that enunciates the relationship between this author's distinctive visual and poetic practices.
Well Well Reality
Poetry. WELL WELL REALITY is a collection of poems written in collaboration by Rosmarie and Keith Waldrop over a number of years. The distinct voices of these two momentously prolific poets merge to create a new, lyric voice: a vast, plural assemblage of name, gender, and language. "When Rosmarie Waldrop writes poetry, when she writes poems, she writes her poems: the poems, the poetry of Rosmarie Waldrop. When Keith Waldrop writes poetry, when he writes poems, he writes his poems: the poems, the poetry of Keith Waldrop. But when Rosmarie and Keith, when Keith and Rosmarie write poems together, whose poems are those poems? They are the poems of a third poet, whose name and gender and origin and language we do not know. But what we do see, and hear, are the poems."--Jacques Roubaud
Driven to Abstraction
A new poetry collection of startling beauty and thought by a great American poet.
The Hanky of Pippin's Daughter
These two novels explore the themes of physical and emotional exile and between-ness. In the first, the narrator writes to her sister, trying to come to terms with her ancestry and with what her parents did in Nazi Germany. The second is set in Mexico City and explores a web of disparate ideas.
Paris Spleen
Between 1855 and his death in 1867, Charles Baudelaire inaugurated a new—and in his own words "dangerous"—hybrid form in a series of prose poems known as Paris Spleen. Important and provocative, these fifty poems take the reader on a tour of 1850s Paris, through gleaming cafes and filthy side streets, revealing a metropolis on the eve of great change. In its deliberate fragmentation and merging of the lyrical with the sardonic, Le Spleen de Paris may be regarded as one of the earliest and most successful examples of a specifically urban writing, the textual equivalent of the city scenes of the Impressionists. In this compelling new translation, Keith Waldrop delivers the companion to his innovative translation of The Flowers of Evil. Here, Waldrop's perfectly modulated mix releases the music, intensity, and dissonance in Baudelaire's prose. The result is a powerful new re-imagining that is closer to Baudelaire's own poetry than any previous English translation.
The Locality Principle
Poetry. Written in alternating sections of poetry and short prose pieces, THE LOCALITY PRINCIPLE is, on one level, a perceptive and often wryly humorous account of a traveler's confusion and dislocation. In London, a narrator, presumably the author, is living on a street named after a nonexistent park, next to a garden he can see from a window but has no access to--a garden tended by a bizarrely ineffectual group of men and women who could be gardeners or possibly inmates from a local asylum. But Waldrop's is role as a displaced observer also provides the opportunity for a series of reflections on deeper subjects, such as concept of the soul, and the fact of his own mortality. Overseeing it ...
The Real Subject
The Real Subject is not exactly a novel and not really a poem, though it contains some verses and is not without characters. Jacob Delafon, whose musings are here presented, is a man late in life who has gotten around-at least in his own mind-read a great deal, unsystematically, thought (with even less system) about what he has seen, heard, what he comes up against. He is, in fact, a unique geezer, whose trains of thought seem often on tracks without station or schedule. To move one to another of Jacob Delfon's turns of mind and twisted meditations requires, not fast, but careful footwork. There is no set path. The interest is in the steps.
