Gerald Stern - Böcker

Early Collected Poems gathers the poems from the first six books of Gerald Stern’s body of work. A master poet, Stern has sought new language for the overlooked, neglected, and unseen facets of human experience. Whether writing about modern poets, Hebrew prophets, death, war, or love, “Stern’s literary songs are sharp, surprising, and unerring in their delivery” (Ploughshares, Editor’s Choice).from “The Red Coal”The coal has taken over, the red coalis burning between us and we are at its mercy—as if a power is finally dominatingthe two of us; as if we’re huddled upwatching the black smoke and the ashes;as if knowledge is what we needed and nowwe have that knowledge. Now we have that knowledge.

The poems in this new volume by the winner of the National Book Award span countries and centuries, reflecting on memory, aging, history, and mortality. “Hamlet Naked” traverses Manhattan in the 1960s from a Shakespeare play on 47th Street to the cellar of a Ukrainian restaurant in the East Village; “Thieves and Murderers” encompasses musings of the medieval French poet François Villon and Dwight Eisenhower; “Orson” recounts a meeting of the poet and Orson Welles, exiled in Paris. Gerald Stern recalls old cars he used to drive—“the 1950 Buick / with the small steering wheel / and the cigar lighter in the back seat”—as well as intimate portraits of his daily life “and the mussel-pooled and the heron-priested shore” of Florida. These are wistful, generous, lively love poems and elegies that capture the passage of time, the joys of a sensual life, and remembrances of the past.

Finalist for the Los Angeles Times Book Prize.

The centerpiece of Gerald Stern's ninth collection is a long poem titled "Hot Dog," named for a beautiful street woman who lives in and around Tompkins Square Park. Other characters in this poem are St. Augustine, Walt Whitman, Noah, Gerald Stern himself, and a ninety-year-old black preacher from the Midwest. In "Hot Dog," and throughout, Stern wrestles with the issues—hope, memory, faith—that have always occupied him.

"This healthy collection of new poems and selections from seven previous volumes is remarkable for its generosity of spirit, manifested in a warm surrealism that is often turned with humor toward his own past as a way of understanding the recurrent questions of growing old: 'Why did it take so long / for me to get lenient? What does it mean one life / only?' " — Publishers Weekly (starred review)  "Gerald Stern's achievement is immense. In this beautiful gathering . . . one encounters a poet who praises and mourns in turn and even at once." — Grace Schulman, The Nation "Stern is one of those rare poetic souls who makes it almost impossible to remember what our world was like before his poetry came to exalt it." — C. K. Williams

Following his National Book Award winner, This Time, Gerald Stern further explores history and memory, the casual miracles of relationships, and his irrevocable connection to the natural world. The weight of history and the bouyance of memory, the casual miracles of relationships, and his irrevocable connection to the natural world are some of Gerald Stern's ongoing themes in this new book. The poems in Last Blue range in tone from the joyously unrestrained to the quietly somber. A Stern poem can begin with the majestic cadences of an Old Testament psalm, turn on an almost invisible hinge, and bring into focus the smallest detail. Here is a radiant collection from an essential voice in American poetry.

In his thirteenth collection, the 1998 National Book Award winner presents us with fifty-nine "Stern Sonnets," of twenty or so lines rather than the traditional fourteen. Using the events of his life as starting points, Gerald Stern deals with time and loss, with the dichotomy of light and darkness, and—always—with the possibility of joy. This stunning collection moves from autobiography to the visionary in surges of memory and language that draw the reader from one poem to the next.

Gerald Stern calls upon his own life as a ground for his poems. Showing a horror of lies, treachery, and war, he offers redemption through stark language and plain speech.

In Save the Last Dance, Gerald Stern gives us a stunning collection of his intimately personal—yet always universal, and always surprising—poems, rich with humor and insight. Shorter lyric poems in the first two parts continue the satirical and often redemptive vision of his last collection, Everything Is Burning, while never failing to carve out new emotional territory. In the third part, a long poem called "The Preacher," Stern takes the book of Ecclesiastes as a starting point for a meditation on loss, futility, and emptiness, represented here by the concept of a "hole" that resurfaces throughout.

The lyric poems of In Beauty Bright, although marked by the same passion and swiftness as Gerald Stern’s previous work, move into an area of knowledge—even wisdom—that reflects a long life of writing, teaching, and activism. They are poems of grief and anger, but the music is delicate and moving.from "In Beauty Bright":In beauty-bright and such it was like Blake’slily and though an angel he looked absurddragging a lily out of a beauty-bright storewrapped in tissue with a petal drooping,nor was it useless—you who know it knowhow useful it is—and how he would be deadin a minute if he were to lose it thoughhow do you lose a lily?

Divine Nothingness is a meditative reflection on the poet’s past and an elegy to love and the experience of the senses in the face of mortality. From the Jersey side of the Delaware River in Lambertville, Gerald Stern explores questions about who and why we are, locating nothingness in the divine and the divine in nothingness.

National Book Award winner Gerald Stern’s wistful and lively poems span countries and centuries, reflecting on memory, aging, history and mortality.

For five decades, Gerald Stern has been writing his own brand of expansive, deep-down American poetry. Now in his nineties, this “sometimes comic, sometimes tragic visionary” (Edward Hirsch) engages a lifetime of memories in his poems, blending philosophical, wide-ranging intellect with boisterous wit.Memory unites the poems in Blessed as We Were, which reach back through seven collections written over almost two decades. Stern explores casual miracles, relationships, and the natural world in Last Blue (2000); offers a satirical and redemptive vision in Everything Is Burning (2005) and Save the Last Dance (2008); meditates on the metamorphosis of aging in In Beauty Bright (2012); and captures the sensual joys of life—even when they are far in the past—in the wistful love poems and elegies of Galaxy Love (2017). The volume concludes with over two dozen new poems that combine the metaphysical with the domestic, from the passage of time and the cost of love to the profound banality of cardboard and its uses.With his characteristic exuberant, oracular voice animating every line, Stern reminds us why he is one of the great American poets, one who has long “been telling us that the best way to live is not so much for poetry, but through poetry” (New York Times Book Review).

For five decades, Gerald Stern has been writing his own brand of expansive, deep-down American poetry. Now in his nineties, this “sometimes comic, sometimes tragic visionary” (Edward Hirsch) engages a lifetime of memories in his poems, blending philosophical, wide-ranging intellect with boisterous wit.Memory unites the poems in Blessed as We Were, which reach back through seven collections written over almost two decades. Stern explores casual miracles, relationships and the natural world in Last Blue (2000); offers a satirical and redemptive vision in Everything Is Burning (2005) and Save the Last Dance (2008); meditates on the metamorphosis of ageing in In Beauty Bright (2012); and captures the sensual joys of life—even when they are far in the past—in the wistful love poems and elegies of Galaxy Love (2017). The volume concludes with over two dozen new poems that combine the metaphysical with the domestic, from the passage of time and the cost of love to the profound banality of cardboard and its uses.With his characteristic exuberant, oracular voice animating every line, Stern reminds us why he is one of the great American poets, one who has long “been telling us that the best way to live is not so much for poetry, but through poetry” (New York Times Book Review).

Gerald Stern's poetry has been variously praised for its visionary quality, its scope and passion, but most especially for its wholehearted embrace of life. Stern's special manner of joie de vivre is immediately evident in his prose pieces as well. In this collection of personal essays, Stern speaks to the reader on subjects closest to his heart -- family, justice, Jewishness, ecstasy, loss, and love, as well as Andy Warhol, Paris, and getting shot in the neck. He ranges from passionate literary discussions to buoyant anecdotes about "borrowing" William Carlos Williams' hat from the writer's historic home. With seven new pieces, What I Can't Bear Losing celebrates a writer passionately engaged with life in America after World War II and gives a glimpse of the poetic processes of one of today's most beloved literary voices.

In the tradition of essayists like Montaigne and Emerson, Gerald Stern reflects with wit, pathos, rage, and tenderness on 85 years of life. In 70 short, intermingling essays Stern moves nimbly between the past and the present, the personal and the philosophical. Creating the immediacy of dailiness, he writes with entertaining engagement about what he's reading, be it Spinoza, Maimonides, John Cage, Etheridge Knight, James Schuyler, or Lucille Clifton, and then he seamlessly turns to memories of his student years in Europe on the GI Bill, or his political and social action. Interwoven with his formidable recollections are passionate discussions of lifelong obsessions: his conflicted identity as a secular Jew opposed to Israel's Palestine policy; the idea of neighbors in various forms, from the women of Gee's Bend, who together made beautiful quilts, to the inhabitants of Jedwabne, who on a single day in 1941 slaughtered 300 Jews; and issues of justice.

In Death Watch, the National Book Award-winning poet Gerald Stern uses powerful prose to sift through personal and prophetic history and contemplate his own mortality. Characteristically audacious, uncompromising, funny, and iconoclastic, Stern looks back at his life and forward in time to how his story will play out. Wrestling with his identity in Judaism, he explores how his name was uprooted from its origins, as so much of his life will be willfully disrupted from the expectations of his parents and the norms of a predictable path. Stern recounts his life, itself "a grand digression," which takes him from Pittsburgh, to the Army, to Paris on the GI Bill, and back to the United States, where he immerses himself in the literary culture around him. Stern's early and traumatic loss of his older sister provides the occasion to imagine what her life might have been, and he revels in his past love affairs, the many women beloved in his life. He recollects books that occupy his recent reading--the work of W.G. Sebald, Blaise Cendrars, and Louis-Ferdinand Celine--and how memory is always at the heart of literary accomplishment and what creates the staying power of great literature.Death Watch is as an account of a beloved poet's final journey; a vivid, passionate, and, at times, whimsical look at the gamble of living life to its fullest, choosing the life of a poet, philosopher, prophet, lover, radical, and perpetual troublemaker.