Grace Schulman – författare

Grace Schulman's acclaimed poetry is often about joy, the celebration of the miraculous, and the birth of beauty from adversity. In her new prose collection, she explores the passion for reading and other disciplines that led her to exult in her craft.In First Loves and Other Adventures Schulman explores how she became a writer; her wide-ranging influences; and some of the many writers and works that have enchanted her over the years, ranging from Genesis and Song of Songs in the King James Bible to T. S. Eliot to Walt Whitman. These reflections on her art and career touch on a variety of other disciplines, including science, the novel, music, and art, and their relation to poetry as a field. Her belief that art transcends formal boundaries is a recurring theme throughout her discussion of these influences, as well as in her own work.Grace Schulman is the author of six books of poems. Among her honors are the Aiken Taylor Award for poetry, the Delmore Schwartz Memorial Award, a Guggenheim Fellowship, and New York University's Distinguished Alumni Award. Her poems have won three Pushcart Prizes, and her collection Days of Wonder was selected by Library Journal as one of the best poetry books of 2002. Schulman is the former director of the Poetry Center and former poetry editor of the Nation and currently is Distinguished Professor of English at Baruch College, City University of New York.A volume in the POETS ON POETRY series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.

“Without a Claim is a modern Book of Psalms. Indeed, the glory in these radiant sacred songs meld an art of high music with a nuanced love of the world unlike any we’ve heard before. No matter your mood upon entering this world you’ll soon be grateful, and enchanted. In any such house of praise, God herself must be grateful.” —Philip Schultz, Pulitzer Prize–winning author of Failure and The God of Loneliness Grace Schulman, who has been called “a vital and permanent poet” (Harold Bloom), makes new the life she finds in other cultures and in the distant past. In Without a Claim, she masterfully encompasses music, faith, art, and history. The title poem alludes to the Montauk sachem who sold land without any concept of rights to property, and meditates on our own notion of ownership: “No more than geese in flight, shadowing the lawn, / cries piercing wind, do we possess these fields, / given the title, never the dominion.” She traces the illusion of rights, from land to objects, from our loves to our very selves. Alternatively, she finds permanence in art, whether in galleries or on cave walls, and in music, whether in the concert hall, on the streets of New York, or in the waves at sea.

Grace Schulman''s fourth collection of poetry, THE PAINTINGS OF OUR LIVES, celebrates earthly things while discovering inner lives. Here are poems of love and marriage -- including a psalm for the poet''s anniversary and a portrayal of her parents dancing during the Depression -- and poems identifying with the hungers, sorrows, and joys of Chaim Soutine, Margaret Fuller, Paul Celan, and Henry James. In the final sonnet sequence, Schulman confronts her mother''s death, calling on the art of many cultures to illuminate the universality of grief.

Attesting to Grace Schulman''s gifts for her craft, Days of Wonder collects verse spanning nearly three decades, including ten new poems and selections from the poet''s four previous collections. Schulman''s well-crafted lyrics contain equal portions of reverence and lament, praise and joy. Many of her poems communicate a sense of wonder at the beauty of the world, with references to painters and poets and religion. As William Stafford has written, Schulman "renews our faith in ourselves and in the language we use for finding each other."

In this generous selection, Grace Schulman moves from 'the altering light' of earthly experience to the possibility of the miraculous.In the celebrated love poem 'The Present Perfect,' she sees 'wildflowers / poking through gravel cracks in our neighbors' driveway / slender but fortunate, built to last their day,' and stanzas about an El Greco painting close with 'one beam that God devised, before the / sun, would have shown us the world in one glance.' Schulman's work so far evolves from a vision of unity expressed in her first collection, BURN DOWN THE ICONS.Her second book, HEMISPHERES, opens with a beautiful blessing, and 'has that first requisite of poetry - the world comes alive in the work ...There is nothing familiar about this poet's genius' (New York Times Book Review).The selections from FOR THAT DAY ONLY contain vivid scenes of New York in the tradition of Whitman, Crane, and Moore.THE PAINTINGS OF OUR LIVES, Schulman's most recent book, includes a sonnet sequence that calls on the art of many cultures to illuminate the universality of grief.The ten new poems that complete this breathtaking volume attest to this poet's gifts for her craft and for the expression of praise.

Who has not suffered grief? In Mourning Songs, the brilliant poet and editor Grace Schulman has gathered together the most moving poems about sorrow by the likes of Elizabeth Bishop, William Carlos Williams, Gwendolyn Brooks, Neruda, Catullus, Dylan Thomas, W. H. Auden, Shakespeare, Emily Dickinson, W. S. Merwin, Lorca, Denise Levertov, Keats, Hart Crane, Michael Palmer, Robert Frost, Hopkins, Hardy, Bei Dao, and Czeslaw Milosz—to name only some of the masters in this slim volume.“The poems in this collection,” as Schulman notes in her introduction, “sing of grief as they praise life.” She notes, “As any bereaved survivor knows, there is no consolation. ‘Time doesn’t heal grief; it emphasizes it,’ wrote Marianne Moore. The loss of a loved one never leaves us. We don’t want it to. In grief, one remembers the beloved. But running beside it, parallel to it, is the joy of existence, the love that causes pain of loss, the loss that enlarges us with the wonder of existence.”

Exquisite new work along with a selection of her finest poems spanning five decades from the essential poet and national treasure, Frost Medal winner Grace Schulman.Again, the Dawn draws together poems fromeight books plus a generous selection of new poems. In them, Grace Schulmanhears the call to praise tempered by stark details of city life such astrumpets that blare “louder than street sirens.” and iron fences / handwrought with lyres, Greek frets,acanthus leaves.” Schulman brings passion andintelligence to bear on occasions she ponders, whether historical orcontemporary. In joy and in grief, she gazes at the light and sees themajesty in ordinary things. This collection ranges across decades of prize-winning books, and yet, as its title exclaims, the poetry ofGrace Schulman is as new as the rising sun. As Julie Sheehan has written of her most recent volume, “Read this collection if you, too, have grieved. Read it if youneed your own guide to the underworld. Read it if you've ever felt proud to getat the meaning of poems, of art, of music. Read it if you want to be restoredto the world around you, if late-stage capitalism or imperialism or politicshave numbed you. Read it, then look up, breathe in, raise your own hands, andlet Grace Schulman assure you: ‘I'll be there, / gazing impiously — unless / thatis what sacred is, the work, the looking up, / the wonder.’”

Grace Schulman is an award-winning poet and the author of seven collections of poems. She has had long posts as Poetry Editor of the Nation magazine, Director of the Poetry Center at the 92nd Street Y, and Distinguished Professor at CUNY’s Baruch College, where she still teaches. But her love for her scientist husband and her care for him through his long illness proved to be among her greatest inspirations. It called forth her deepest grief at his loss.How did Schulman maintain the independence, solitude, and freedom she required within the bounds of marriage? And what made her marriage endure through a decade of living apart? “In my experience, the phrase ‘happy marriage’ is a term of opposites, like ‘friendly fire’ or ‘famous poet.’ My marriage has been a feast of contradiction . . . ” Strange Paradise looks at this, Schulman’s remarkable career, her friendships with great writers, her work as an historic impresario at the Y, her religious and philosophical leanings, and her grand love affair with New York―all in her magical prose.

A New York Times Book Review New & Noteworthy Selection

"Grace Schulman makes me want to live to be four hundred years old, because she makes me feel there is so much out there, and it''s unbearable to miss any of it."—Wallace Shawn

The romance of Grace Schulman and her husband, Jerome, a distinguished scientist, burgeons in New York’s Greenwich Village amid the cultural revolution of the 1960s. Their bond stays brilliantly alive through various trials, including a decade of living apart. "In my experience, the phrase 'happy marriage' is as oxymoronic as 'friendly fire' or 'famous poet.' My marriage has been a feast of contradiction. . . "Schulman's passion for poetry leads to adventurous times as Poetry Editor of the Nation and Director of the Poetry Center of the 92nd Street Y. The lives of Grace and Jerome are illuminated by friendships with, among others, Marianne Moore, W. S. Merwin, and Richard Yates. In caring for her ailing husband Grace finds her highest calling, and her deepest grief in his loss. Her survival through sorrow will bring solace to all who read about it.

A New York Times Book Review New & Noteworthy Selection"The Marble Bed is a vision; it is an ode to life."—Rowan Ricardo Phillips"Each poem in The Marble Bed journeys far, wandering the territory of love's psyche."—Yusef Komunyakaa"One of the permanent poets of her generation."—Harold BloomGrace Schulman rises to new heights in these poems of lament and praise. In The Marble Bed, a couple dances on a shore that is at once a shining turf and a graveyard of sea toss, of cracked shells, a skull-like carapace, and emerald weed. Here things sparkle with newness: an orchid come alive when rescued from a trash bin; the new year hidden in an egret's wing; Coltrane's ecstatic flight; a seductive, come-hither angel; a meteor's arc; a rainbow's painted ribbons; a glacial rock that glowers in moonlight. Even the tomb sculptures in an Italian cemetery sparkle with vitality. Schulman, grieving for her late husband, believes passionately in the power of art to redeem human transience. Her faith in art enables her to move from mourning to joyful wonder of existence as she meditates on an injured world and concludes: "Because I cannot lose the injured world / without losing the world, / I'll have to praise it."