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Keep the Feast
Stephen Cushman’s Keep the Feast sings in the tradition of the psalmists and devotional poets, offering an intimate, ecstatic doxology, both exultant and indicting, spiritual and secular. His poems make prodigious and intrepid forays into the realms of history, sexuality, religious ardor, the imperiled planet, and the reasons for making art. At the heart of this three-part book lies the title poem, which takes as a formal model Psalm 119, the longest psalm in the Bible. In luminous verse, Cushman’s speaker rejoices in the commitments of faith, finding in them a way of living with the paradoxes of twenty-first-century life and of holding belief in an often-unfathomable world.
Riffraff
Stephen Cushman's Riffraff embodies the spirit of its title, a Middle English word for "every particle" or "things of small value." In this striking collection, scraps of the overlooked, and distasteful -- a prostitute passed in the street, the speaker's own forgotten dreams, toothless dogs rolling in deer offal -- become occasions to meditate on the rich experiences from which we too often turn away. The poems reflect on the possibilities of language, the natural world, politics, history, eros, aging, family, and spiritual devotion. Without pretension, Cushman values "adepts who can dwell in the kiosk of a kiss." Skillfully, he transmutes his own curiosity and surprise into moments of shared instruction. "Keep low," he whispers. "Stay put. / Learn from the leaves." Riffraff culls what we have discarded, saves from abandonment the notions we have taken for granted, and, indeed, venerates every particle.
Cussing Lesson
In his second collection of poems, Stephen Cushman explores, appraises, and celebrates many different forms of connections —domestic, social, historical, and religious. With an easygoing voice, an engaging humor, and a sure understanding of his craft, he addresses subjects from marriage and travel to urbanism and the Civil War, illustrating the rewards of a sensitive regard for the junctions in everyday life and language. Invoking “all the lessons they ever taught me / about ordination in the ordinary,” he reflects on members of his family, affirming attachments of marriage and blood. Beyond those immediate ties lie the connections of history—which take him to ancient Egypt, wartime ...
Fictions of Form in American Poetry
In the 1830s Alexis de Tocqueville prophesied that American writers would slight, even despise, form--that they would favor the sensational over rational order. He suggested that this attitude was linked to a distinct concept of democracy in America. Exposing the inaccuracies of such claims when applied to poetry, Stephen Cushman maintains that American poets tend to overvalue the formal aspects of their art and in turn overestimate the relationship between those formal aspects and various ideas of America. In this book Cushman examines poems and prose statements in which poets as diverse as Emily Dickinson and Ezra Pound describe their own poetic forms, and he investigates links and analogi...
Heart Island
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The Red List
The "red list" of Stephen Cushman's new volume of poetry is the endangered species register, and the book begins and ends with the bald eagle, a bird that bounded back from the verge of extinction. The volume marks the inevitability of such changes, from danger to safety, from certainty to uncertainty, from joy to sadness and back again. In a single poem that advances through wordplay and association, Cushman meditates on subjects as vast as the earth's fragile ecosystem and as small as the poet's own deflated fantasy of self-importance: "There aren't any jobs for more Jeremiahs." Simultaneously teasing the present and eulogizing what has been lost, Cushman speaks like a Shakespearean jester, freely and foolishly, but with penetrating insight.
Belligerent Muse
Belligerent Muse: Five Northern Writers and How They Shaped Our Understanding of the Civil War
Hothead
Hothead is a haibun-patterned, book-length declamation in which no topic is off limits—Buddha, Jesus, Lincoln, America, global warming, eros, mental illness, the natural world, technology, the aging body. Cushman’s poetry shows us how to live in a world in which it is difficult to balance “the place where light and dark meet.” With an outmoded laptop named Patience as his daily consort, the speaker navigates through themes of love, politics, and belief. “There’s got to be someone,” Cushman writes, “exploring the way,” and the speaker of Hothead steps in to fill those shoes with intelligence, endurance, moxie, and humility.
Bloody Promenade
On 5 and 6 May 1864, the Union and Confederate armies met near an unfinished railroad in central Virginia, with Lee outmanned and outgunned, hoping to force Grant to fight in the woods. The name of the battle--Wilderness--suggests the horror of combat at close quarters and an inability to see the whole field of engagement, even from a distance. Indeed, the battle is remembered for its brutality and ultimate futility for Lee: even with 26,000 casualties on both sides, the Wilderness only briefly stemmed Grant's advance. Stephen Cushman lives fifty miles south of this battlefield. A poet and professor of American literature, he wrote Bloody Promenade to confront the fractured legacy of a battl...
The Generals' Civil War
In December 1885, under the watchful eye of Mark Twain, the publishing firm of Charles L. Webster and Company released the first volume of the Personal Memoirs of Ulysses S. Grant. With a second volume published in March 1886, Grant's memoirs became a popular sensation. Seeking to capitalize on Grant's success and interest in earlier reminiscences by Joseph E. Johnston, William T. Sherman, and Richard Taylor, other Civil War generals such as George B. McClellan and Philip H. Sheridan soon followed suit. Some hewed more closely to Grant's model than others, and their points of similarity and divergence left readers increasingly fascinated with the history and meaning of the nation's great con...
