Edward Hirsch – författare

A Poet’s Glossary was an extraordinary achievement that continues to stand as a definitive source for poets and poetry lovers alike. Here, The Essential Poet’s Glossary gleans the very best from that extraordinary volume. "An instant classic that belongs on the bookshelf of every serious poet and literature student."—Washington PostChancellor of the Academy of American Poets Edward Hirsch has compiled poetic terms spanning centuries and continents, including forms, devices, movements, aesthetics, rhetorical terms, and folklore. Knowing how a poem works is crucial to unlocking its meaning—entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made A Poet’s Glossary and How to Read a Poem so beloved, this Essential edition is the book that all readers, writers, teachers, and students of poetry will return to again and again.

In Special Orders, the renowned poet Edward Hirsch brings us a new series of tightly crafted poems, work that demonstrates a thrilling expansion of his tone and subject matter. It is with a mixture of grief and joy that Hirsch examines what he calls “the minor triumphs, the major failures” of his life so far, in lines that reveal a startling frankness in the man composing them, a fearlessness in confronting his own internal divisions: “I lived between my heart and my head, / like a married couple who can’t get along,” he writes in “Self-portrait.” These poems constitute a profound, sometimes painful self-examination, by the end of which the poet marvels at the sense of expectancy and transformation he feels. His fifteen-year-old son walking on Broadway is a fledgling about to sail out over the treetops; he has a new love, passionately described in “I Wish I Could Paint You”; he is ready to live, he tells us, “solitary, bittersweet, and utterly free.” More personal than any of his previous collections, Special Orders is Edward Hirsch’s most significant book to date.The highway signs pointed to our happiness;the greasy spoons and gleaming truck stopswere the stations of our pilgrimage. Wasn’t that us staggering past the riverboats,eating homemade fudge at the county fairand devouring each other’s body?They come back to me now, delicious love,the times my sad heart knew a little sweetness.from “The Sweetness”From the Hardcover edition.

Edward Hirsch’s sixth collection is a descent into the darkness of middle age, narrated with exacting tenderness. He explores the boundaries of human fallibility both in candid personal poems, such as the title piece—a plea for his father, a victim of Alzheimer’s wandering the hallway at night—and in his passionate encounters with classic poetic texts, as when Dante’s Inferno enters his bedroom:When you read Canto Five aloud last night in your naked, singsong, fractured Italian, my sweet compulsion, my carnal appetite, I suspected we shall never be forgiven for devouring each other body and soul . . . From the lighting of a Yahrzeit candle to the drawings by the children of Terezin, Hirsch longs for transcendence in art and in the troubled history of his faith. In “The Hades Sonnets,” the ravishing series that crowns the collection, the poet awakens full of grief in his wife’s arms, but here as throughout, there is a luminous forgiveness in his examination of our sorrows. Taken together, these poems offer a profound engagement with our need to capture what is passing (and past) in the incandescence of language.From the Hardcover edition.

"Life has to have the plenitude of art," Edward Hirsch affirms in his fifth volume of poems, On Love, which further establishes him as a major artist. From its opening epigraph by Thomas Hardy and an initiating prayer for transformation, On Love takes up the subjects of separateness and fusion, autonomy and blur. The initial progression of fifteen shapely and passionate lyrics (including a sonnet about the poet at seven, a villanelle about the loneliness of a pioneer woman on the prairie, and an elegy for Amy Clampitt) opens out into a sequence of meditations about love. These arresting love poems are spoken by a gallery of historical figures from Denis Diderot, Heinrich Heine, Charles Baudelaire, and Ralph Waldo Emerson to Gertrude Stein, Federico Garcia Lorca, Zora Neale Hurston, and Colette. Each anatomizes a different aspect of eros in poems uttered by a chorus of historical authorities that is also a lone lover''s yearning voice. Personal, literary, On Love offers the most formally adept and moving poetry by the author Harold Bloom hails as utterly fresh, canonical, and necessary.From the Hardcover edition.

A rich and significant collection of more than one hundred poems, drawn from a lifetime of “wild gratitude” in poetry.In poems chronicling insomnia (“the blue-rimmed edge / of outer dark, those crossroads / where we meet the dead”), art and culture (poems on Edward Hopper and Paul Celan, love poems in the voices of Baudelaire and Gertrude Stein, a meditation on two suitcases of children’s drawings that came out of the Terezin concentration camp), and his own experience, including the powerful, frank self-examinations in his more recent work, Edward Hirsch displays stunning range and quality. Repeatedly confronting the darkness, his own sense of godlessness (“Forgive me, faith, for never having any”), he also struggles with the unlikely presence of the divine, the power of art to redeem human transience, and the complexity of relationships. Throughout the collection, his own life trajectory enriches the poems; he is the “skinny, long-beaked boy / who perched in the branches of the old branch library,” as well as the passionate middle-aged man who tells his lover, “I wish I could paint you— / . . . / I need a brush for your hard angles / and ferocious blues and reds. / . . . / I wish I could paint you / from the waist down.”Grieving for the losses occasioned by our mortality, Hirsch’s ultimate impulse as a poet is to praise—to wreathe himself, as he writes, in “the living fire” that burns with a ferocious intensity.From the Hardcover edition.

Edward Hirsch''s strong, arresting poems have been praised from the start of his career. Of his second book, Wild Gratitude, Robert Penn Warren said, "I am convinced that the best poems here are unsurpassed in our time". This, his fourth collection, contains his finest work. From gritty, apocalyptic views of the urban Midwest to brilliantly empathetic portrayals of Simone Weil and Hugo von Hofmannsthal, the range of poems is at once wide and subtle. "In the Midwest" speaks of the nightmare of abandon and decay; "From a Train (Hofmannsthal in Greece)" is the poet''s compelling view of a timeless landscape; "The Italian Muse" is a meditation on Henry James in Rome; "Luminist Paintings at the National Gallery" beautifully evokes the sense of nineteenth-century American countryside. There is an argument about transcendence in these poems, an evocation of American spaces and European landscapes, a quest for reconciliation to the earth as it is. Hirsch''s work, as Anthony Hecht has said, "has not only the courage of its strong emotions, but the language and form that makes and keeps them clear and true".

Straightforward and precise, these poems, almost exclusively in narrative form, beckon the reader with their immediacy. Gracefully confirming the inextricable links between self and family, Hirsch, winner of a National Book Critics Circle Award for Wild Gratitude , is, at his best, captivating, transforming tremendous respect for and fascination with his Eastern European roots and Chicago upbringing into enlightened, richly detailed verse that artfully side-steps sentimentality.

Longlisted for the 2014 National Book Award Never has there been a book of poems quite like Gabriel, in which a short life, a bewildering death, and the unanswerable sorrow of a father come together in such a sustained elegy. This unabashed sequence speaks directly from Hirsch’s heart to our own, without sentimentality. From its opening lines—“The funeral director opened the coffin / And there he was alone / From the waist up”—Hirsch’s account is poignantly direct and open to the strange vicissitudes and tricks of grief. In propulsive three-line stanzas, he tells the story of how a once unstoppable child, who suffered from various developmental disorders, turned into an irreverent young adult, funny, rebellious, impulsive. Hirsch mixes his tale of Gabriel with the stories of other poets through the centuries who have also lost children, and expresses his feelings through theirs. His landmark poem enters the broad stream of human grief and raises in us the strange hope, even consolation, that we find in the writer’s act of witnessing and transformation. It will be read and reread.  From the Hardcover edition.

William Maxwell, who died in July 2000, was revered as one of the twentieth century's great American writers and a longtime fiction editor at The New Yorker. Now writers who knew Maxwell and were inspired by him—both the man and his work—offer intimate essays, most specifically written for this volume, that "bring him back to life, right there in front of us."Alec Wilkinson writes of Maxwell as mentor; Edward Hirsch remembers him in old age; Charles Baxter illuminates the magnificent novel So Long, See You Tomorrow; Ben Cheever recalls Maxwell and his own father; Donna Tartt vividly describes Maxwell's kindness to herself as a first novelist; and Michael Collier admires him as a supreme literary correspondent. Other appreciations include insightful pieces by Alice Munro, Anthony Hecht, a poem by John Updike, and a brief tribute from Paula Fox. Ending this splendid collection is Maxwell himself, in the unpublished speech "The Writer as Illusionist."

This illuminating anthology follows the sonnet through its various moments and makers over five and a half centuries. Edward Hirsch and Eavan Boland, two of our foremost poets, focus on vicissitudes, paying particular attention to how individual poets—from Shakespeare to Strand—have claimed these fourteen lines: lengthened them, shortened them, elaborated on them, and, in turn, been defined by them. Three sections—"The Sonnet in the Mirror," "The Sonnet Goes to Different Lengths," and "The Sonnet extraordinary durability and its reinventions. The collection opens with personal introductions by the editors, and, in the appendix, they provide "Ten Questions for a Sonnet Workshop" to jump-start a conversation between students and teachers. With more than three hundred poems, The Making of a Sonnet guides readers through a vigorous adventures in craft and practice, right up to its extraordinary resurgence in contemporary poetry.

In his seventieth year, the award-winning poet looks back on what was and accepts what is, in a deeply moving and beautiful sequence about what sustains him.Beginning with "My Friends Don''t Get Buried," the lament of a delinquent mourner as his friends have begun to die, and ending with the plaintive note to self "don''t write elegies/anymore," Edward Hirsch takes us backward through the decades in these memory poems of startling immediacy. He recalls the black dress a lover wore when he couldn''t yet know the tragedy of her burning spirit; the radiance of an autumn day in Detroit when his students smoked outside, passionately discussing Shelley; the day he got off late from a railyard shift and missed an antiwar demonstration. There are direct and indirect elegies to lost contemporaries like Mark Strand, William Meredith, and, most especially, his longtime compatriot Philip Levine, whom he honors in several poems about daily work in the late midcentury Midwest. As the poet ages and begins to lose his peripheral vision, the world is "stranger by night," but these elegant, heart-stirring poems shed light on a lifetime that inevitably contains both sorrow and joy.

“A really beautiful book” of poems that delve into—and help us transcend—suffering, loss, fear, and loneliness, by the author of How to Read a Poem (The Boston Globe).Implicit in poetry is the idea that we are enriched by heartbreaks, by the recognition and understanding of suffering—not just our own suffering but also the pain of others. We are not so much diminished as enlarged by grief, by our refusal to vanish, or to let others vanish, without leaving a record. And poets are people who are determined to leave a trace in words, to transform oceanic depths of feeling into art that speaks to others.In 100 Poems to Break Your Heart, Edward Hirsch—prize-winning poet, critic, and author of How to Read a Poem—selects 100 poems, from the nineteenth century to the present, and illuminates them, unpacking context and references to help the reader fully experience the range of emotion and wisdom within them.“Darkly illuminating.” —Booklist (starred review)“These 100 poems will indeed break hearts, but they also offer examples of resilience, the lasting impact of words, and a wisdom that a reader can return to and share.” —New York Journal of Books

In a remarkable generation of poets, Galway Kinnell was an acknowledged, true master. From the book-length poem memorialising the grit, beauty, and swarming assertion of immigrant life along a lower Manhattan avenue, to searing poems of human conflict and war, to incandescent reflections on love, family, and the natural world - including 'Blackberry Eating,” 'St. Francis and the Sow,' and “After Making Love We Hear Footsteps” - to the unflinchingly introspective poems of his later life, Kinnell’s work lastingly shaped the consciousness of his age.

Logline: This darkly romantic comedy is embedded in the incredible but true story of the Khazars, an ancient people from the Russian steppes, who almost saved humanity.

The premier anthology of contemporary American poetry continues—guest edited this year by award-winning poet Edward Hirsch, a Chancellor of the Academy of American Poets and the president of The John Simon Guggenheim Memorial Foundation.The Best American Poetry series is “a vivid snapshot of what a distinguished poet finds exciting, fresh and memorable” (Robert Pinsky); a guiding light for the mood and shape of modern American poetry. Each year, this series presents essential American verse and the poets who create it. Truly the “best” American poetry has appeared in this venerable collection for over twenty-five years. A poet of decided brilliance since his 1981 debut collection, For the Sleepwalkers, Edward Hirsch curates a thoughtful selection of poetry for 2016 and an Introduction to be savored. Jumpha Lahiri said of Hirsch, “The trademarks of his poems are…to be intimate but restrained, to be tender without being sentimental, to witness life without flinching, and above all, to isolate and preserve those details of our existence so often overlooked, so easily forgotten, so essential to our souls.” Hirsch’s choices for this collection reflect the soul of poetry in America. As ever, series editor David Lehman opens this year’s edition with an insider’s guide and a thoughtful contemplation of poetry today.