"With the exactitude of a surgeon and the sensuous attention of a chef, Hirshfield addresses, essay by essay, the art, craft, and act of making poetry . . . These essays are both brilliantly ambitious—one random passage in her last piece, on 'writing and the threshold life,' flows 14th-century Japanese poet Ono no Komachi (whose poems she has translated in the past) into Czeslaw Milosz into Emily Dickinson and Walt Whitman—and confidently clear." — Village Voice

Nine essays on the connection poetry forges between inner and outer lives, from esteemed poet and thinker Jame Hirshfield.

Nine Gates begins with a close examination of the roots of poetic craft in "the mind of concentration" and concludes by exploring the writer's role in creating a sense of community that is open, inclusive and able to bind the individual and the whole in a way that allows each full self-expression. in between, Nine Gates illumines the nature of originality, translation, the various strategies by which meaning unfolds itself in language, poetry's roots in oral memory and the importance of the shadow to good art.

Delving into the nature of poetry, Jane Hirshfield also writes on the nature of the human mind, perception and experience. Nine Gates is about the underpinnings of poetic craft, but it is also about a way of being alive in the world: alertly, musically, intelligently, passionately, permeably.

In part a primer for the general reader, Nine Gates is also a manual for the working writer, with each "gate" exploring particular strategies of language and thought that allow a poem to convey meaning and emotion with clarity and force. Above all, Nine Gates is an insightful guide to the way the mind of poetry awakens our fundamental consciousness of what can be known when a person is most fully alive.

"Hirshfield's current collection brings together . . . an astonishing array of women writers from the 22nd century BC poet Enheduanna to Nelly Sachs and Anna Akhmatova."— Library Journal

"Destined to become a classic. . . . An anthology of women's spirituality on this scale has never been attempted before and I cannot imagine it being better done." — Andrew Harvey

An investigation into incarnation, transience, and our intimate connection with all existence, by one of the preeminent poets of her generation

A dazzling collection of essays on how the best poems work, from the master poet and essayist “Poetry,” Jane Hirshfield has said, “is language that foments revolutions of being.” In ten eloquent and highly original explorations, she unfolds and explores some of the ways this is done—by the inclusion of hiddenness, paradox, and surprise; by a perennial awareness of the place of uncertainty in our lives; by language’s own acts of discovery; by the powers of  image, statement, music, and feeling to enlarge in every direction. The lucid understandings presented here are gripping and transformative in themselves. Investigating the power of poetry to move and change us becomes in these pages an equal investigation into the inhabitance and navigation of our human lives. Closely reading poems by Dickinson, Bashō, Szymborska, Cavafy, Heaney, Bishop, and Komunyakaa, among many others, Hirshfield reveals how poetry’s world-making takes place: word by charged word. By expanding what is imaginable and sayable, Hirshfield proposes, poems expand what is possible. Ten Windows restores us at every turn to a more precise, sensuous, and deepened experience of our shared humanity and of the seemingly limitless means by which that knowledge is both summoned and forged.

The Beauty, an incandescent new collection from one of  American poetry’s most distinctive and essential voices, opens with a series of dappled, ranging “My” poems—“My Skeleton,” “My Corkboard,” “My Species,” “My Weather”—using materials sometimes familiar, sometimes unexpected, to explore the magnitude, singularity, and permeability of our shared existence. With a pen faithful to the actual yet dipped at times in the ink of the surreal, Hirshfield considers the inner and outer worlds we live in yet are not confined by; reflecting on advice given her long ago—to avoid the word “or”—she concludes, “Now I too am sixty. / There was no other life.” Hirshfield’s lines cut, as always, directly to the heart of human experience. Her robust affirmation of choice even amid inevitability, her tender consciousness of the unjudging beauty of what exists, her abiding contemplation of our moral, societal, and biological intertwinings, sustain poems that tune and retune the keys of a life. For this poet, “Zero Plus Anything Is a World.” Hirshfield’s riddling recipes for that world (“add salt to hunger”; “add time to trees”) offer a profoundly altered understanding of our lives’ losses and additions, and of the small and larger beauties we so often miss. 

"With the exactitude of a surgeon and the sensuous attention of a chef, Hirshfield addresses, essay by essay, the art, craft, and act of making poetry . . . These essays are both brilliantly ambitious—one random passage in her last piece, on 'writing and the threshold life,' flows 14th-century Japanese poet Ono no Komachi (whose poems she has translated in the past) into Czeslaw Milosz into Emily Dickinson and Walt Whitman—and confidently clear." — Village Voice

Nine essays on the connection poetry forges between inner and outer lives, from esteemed poet and thinker Jame Hirshfield.

Nine Gates begins with a close examination of the roots of poetic craft in "the mind of concentration" and concludes by exploring the writer's role in creating a sense of community that is open, inclusive and able to bind the individual and the whole in a way that allows each full self-expression. in between, Nine Gates illumines the nature of originality, translation, the various strategies by which meaning unfolds itself in language, poetry's roots in oral memory and the importance of the shadow to good art.

Delving into the nature of poetry, Jane Hirshfield also writes on the nature of the human mind, perception and experience. Nine Gates is about the underpinnings of poetic craft, but it is also about a way of being alive in the world: alertly, musically, intelligently, passionately, permeably.

In part a primer for the general reader, Nine Gates is also a manual for the working writer, with each "gate" exploring particular strategies of language and thought that allow a poem to convey meaning and emotion with clarity and force. Above all, Nine Gates is an insightful guide to the way the mind of poetry awakens our fundamental consciousness of what can be known when a person is most fully alive.

"Hirshfield's current collection brings together . . . an astonishing array of women writers from the 22nd century BC poet Enheduanna to Nelly Sachs and Anna Akhmatova."— Library Journal

"Destined to become a classic. . . . An anthology of women's spirituality on this scale has never been attempted before and I cannot imagine it being better done." — Andrew Harvey

An investigation into incarnation, transience, and our intimate connection with all existence, by one of the preeminent poets of her generation

A dazzling collection of essays on how the best poems work, from the master poet and essayist “Poetry,” Jane Hirshfield has said, “is language that foments revolutions of being.” In ten eloquent and highly original explorations, she unfolds and explores some of the ways this is done—by the inclusion of hiddenness, paradox, and surprise; by a perennial awareness of the place of uncertainty in our lives; by language’s own acts of discovery; by the powers of  image, statement, music, and feeling to enlarge in every direction. The lucid understandings presented here are gripping and transformative in themselves. Investigating the power of poetry to move and change us becomes in these pages an equal investigation into the inhabitance and navigation of our human lives. Closely reading poems by Dickinson, Bashō, Szymborska, Cavafy, Heaney, Bishop, and Komunyakaa, among many others, Hirshfield reveals how poetry’s world-making takes place: word by charged word. By expanding what is imaginable and sayable, Hirshfield proposes, poems expand what is possible. Ten Windows restores us at every turn to a more precise, sensuous, and deepened experience of our shared humanity and of the seemingly limitless means by which that knowledge is both summoned and forged.

The Beauty, an incandescent new collection from one of  American poetry’s most distinctive and essential voices, opens with a series of dappled, ranging “My” poems—“My Skeleton,” “My Corkboard,” “My Species,” “My Weather”—using materials sometimes familiar, sometimes unexpected, to explore the magnitude, singularity, and permeability of our shared existence. With a pen faithful to the actual yet dipped at times in the ink of the surreal, Hirshfield considers the inner and outer worlds we live in yet are not confined by; reflecting on advice given her long ago—to avoid the word “or”—she concludes, “Now I too am sixty. / There was no other life.” Hirshfield’s lines cut, as always, directly to the heart of human experience. Her robust affirmation of choice even amid inevitability, her tender consciousness of the unjudging beauty of what exists, her abiding contemplation of our moral, societal, and biological intertwinings, sustain poems that tune and retune the keys of a life. For this poet, “Zero Plus Anything Is a World.” Hirshfield’s riddling recipes for that world (“add salt to hunger”; “add time to trees”) offer a profoundly altered understanding of our lives’ losses and additions, and of the small and larger beauties we so often miss.