Chard deNiord – författare

The Double Truth is a collection of poems that arc from myth to history, knowledge to mystery, Eros to natural love, animals to human beings, then back in an alternating poetic current that betrays a speaker who is at once a privileged witness of her time and a diachronic amalgam of voices that are as imagined as they are real in their anonymous legacy.

Interstate is a collection of lyrical poems in four sections that concentrate thematically on animals, love and sex, compassion, and loss. A unifying elegiac conceit, even in the more ecstatic and humorous poems, betrays the bittersweet nature of the book's muse. Alternating between free and formal verse, the poems contain a lyrical tension in which their "broken music" evokes metaphysical paradoxes, romantic humor, and the "dark sounds" that effect what Garcia Lorca called "the power everyone feels" in the mystery of duende "but no philosopher can explain."

I Would Lie To You If I Could contains interviews with nine eminent contemporary American poets (Natasha Trethewey, Jane Hirshfield, Martín Espada, Stephen Kuusisto, Stephen Sandy, Ed Ochester, Carolyn Forche, Peter Everwine, and Galway Kinnell) and James Wright’s widow Anne, presents conversations with a vital cross section of poets representing a variety of ages, ethnicities, and social backgrounds.The poets testify to the demotic nature of poetry as a charged language that speaks uniquely in original voices, yet appeals universally. As individuals with their own transpersonal stories, the poets have emerged onto the national stage from very local places with news that witnesses memorably in social, personal, and political ways. They talk about their poems and development as poets self-effacingly, honestly, and insightfully, describing just how and when they were "hurt into poetry," as well as why they have pursued writing poetry as a career in which, as Robert Frost noted in his poem "Two Tramps in Mud Time," their object has become "to unite [their] avocation and [their] vocation / As [their] two eyes make one in sight."

In his new poetry collection, Chard deNiord explores the paradoxical nature of unknowing.I WEPT WITH JOY ABOVE THE RIVERI wept with joy above the river.I wept with sorrow above the river.My tears were clear, both sweet and bitter.One leaf cried out to another,“Empty me today of all my color.Fill me tomorrow with a shot of sugar.”This was the still ritual for my feet:To stand on the earth that tookof earth earth with ill and sing.

This collection bears witness to ecstasy and grief through persona.  By inhabiting the voices of Adam and Eve, Abelard and Heloise, etc., deNiord reveals the enduring alterity contained within the self.  Westminster West traverses the worlds of here and beyond. Chard deNiord divines “the everydayness of the mystery . . . in which being and making poetry are the same.” From posthumous correspondence between Abelard and Heloise to such poems as “Skywriting Over The Rockies,” “With A Bone In My Heart,” and “I Call Out To You,” this collection betrays a mortal charge, bearing witness to what Emily Dickinson called “each ecstatic moment/ to which we must an anguish pay” and which Aridjis in his defiance of death calls “dust in love.” Ambitious and masterful, deNiord renders such ancient subject matter as love, betrayal, landscape, loss, grief, aging, and ecstasy new throughout Westminster West. He transforms the echo chamber of futility, silence, and failure by aspiring to cross over to “the other,” whatever it may be, a stone or cloud or lover or garment, or cancerous lung, with a “negative capability” that allows it, no matter its identity, to speak memorably in a way that transcends simple definition and ultimately any personal connection to it.Westminster West is divided into three sections that complement each other in their archetypal themes which range historically, mythologically, and cathectically. The poems in the first section imagine correspondences and dialogues between couples, including Heloise and Abelard, Adam and Eve, Gilgamesh and Enkidu, Odysseus and Calypso, a widower and his deceased wife in the time of Covid, and a lovesick husband in the air above the Rocky Mountains and his beloved on the ground. The second section also features love poems but focuses on more instructional and metaphysical themes that vary from metaphorical pedagogy on the topic of sex to “the harsh advice of loss” to the memory of a young couple’s transcendent, romantic walk by a river. Section three moves away from love poems to mortal and environmental themes, including elegies, pastorals, and a concluding confessional credo on the bittersweet reality of poetry’s irony and blessing.