Eric Pankey – författare

His arresting ninth collection of poems, Eric Pankey's Trace locates itself at a threshold between faith and doubt--between the visible and the invisible, the say-able and the ineffable, the physical and the metaphysical. Also a map of the poet's journey into a deep depression, these poems confront one man's struggle to overcome depression's smothering weight and presence. And with remarkable clarity and complexity, Trace charts the poet's attempt to be inspired, to breathe again, to give breath and life to words. Ever solemn, ever existential, Pankey's poems find us at our most vulnerable, the moment when we as humans--believers and nonbelievers alike--must ultimately pause to question the uncertain fate of our souls.

"What is a song but a snare to capture the moment?" Eric Pankey asks in his new collection, Crow-Work. This central question drives Pankey's ekphrastic exploration of the moment where emotion and energy flood a work of art. Through subjects as diverse as Brueghel's Procession to Calvary, Anish Kapoor's Healing of Saint Thomas, Caravaggio's series of severed heads, and James Turrell's experimentation with light and color, the author travels to an impossible past, despite being firmly rooted in the present, to seek out "the songbird in every thorn thicket" of the artist's work. Short bursts of lyrical beauty burn away "like coils of incense ash," bodies in the light of a cave flicker, coalesce and disappear. By capturing the ephemeral beauty of life in these poems, Crow-Work seeks not only to explain great art, but also to embody it.

From celebrated poet Eric Pankey, a collection exploring the presence of the divine in the seemingly ordinary.The ancient Romans practiced augury, reading omens in bird’s flight patterns. In the poems of Augury, revelation is found in nature’s smallest details: a lizard’s quick movements, a tree scarred by lighting, the white curve of a snail’s shell. Here the sensory world and the imagined one collide in unexpected and wonderful ways, as Pankey scrutinizes the physical for meaning, and that meaning for truth.With uncommon grace, each of Pankey’s precise lyrics advances our shared ontological questions and expresses our deepest contradictions. In a world of mystery, should we focus on finding meaning or creating it? How can the known—and the unknown—be captured in language? “If one cannot see clearly,” Pankey writes, borrowing from Freud, “one at least wants / what is unclear to be in focus.”Augury is a masterful and magical collection from a poet of stirring intelligence, “a book of stones unstitched from the wolf’s belly.”

“Pankey writes poems that give us back, if not the world, our relation to it.” —DAN BEACHY-QUICKTaking its name from the Roman goddess of wisdom and her companion bird, Owl of Minerva turns astonishingly precise attention to the physical world, scouring it for evidence of the spiritual as the poet travels through such places as Appalachia, New England, Venice, Spain, the Caribbean, and the American Midwest. Along the way, Pankey ponders mortality, religious narratives and iconography, the continued press of childhood on the present, and the simultaneous violence and beauty of the natural world.At the book’s core are three ambitious poems titled “The Complete List of Everything,” which together offer an extended vision of American longing and connection—as well as a window into the sort of compendium of images and moments a sustained devotion to poetry can yield. “The hope was to construct // A coherent totality of meaning from odds / And ends,” Pankey writes, and so much of this book is about the difficult work of constructing meaning from the available material all around us. This book is an extraordinary example of lyric-meditative journaling—a large and profound collection by a brilliant poet writing at the height of his powers.

“I am stunned, delighted, and moved by the seamless merging of meaning and music that unfolds throughout The Future Perfect: A Fugue. Whether made up of one sentence or a dozen, each section of this long, single work stands on its own, as self-sufficient as a painting in a museum, while contributing to the whole masterful gathering. “This is an intricate work of decisive oscillation, of tender and careful attention shifting swiftly and precisely between the infinitesimal and the vast, and between one concrete reality and another, without ever losing its way: The house rages, but is not consumed. Ablaze, it stands as square and certain as a child’s drawing. In each window: flames instead of curtains. “Such sure-footed writing is astonishing. It would be an understatement to point out that the reader rarely encounters such piercing visionary states, with the author highly alert to sound and syllable, while focused on meaning: Is it disillusion or dissolution that one experiences first? “Throughout, the author probes our capacity for perception: what do we see (the present), remember (the past), and imagine (the future)? And how do we understand them? What elevates the writing even more is the unmistakable passion and urgency pulsing throughout each of the poem’s sections, the deliberate and inspired choice of every word.”