Jorie Graham – författare

The New York Times has said that "Jorie Graham''s poetry is among the most sensuously embodied and imaginative writing we have," and this new collection is a reminder of how startling, original, and deeply relevant her poetry is. In Sea Change, Graham brings us to the once-unimaginable threshold at which civilization as we know it becomes unsustainable. How might the human spirit persist, caught between its abiding love of beauty, its acknowledgment of continuing injury and damage done, and the realization that the existence of a "future" itself may no longer be assured?

There is no better writer to confront such crucial matters than Jorie Graham. In addition to her recognized achievements as a poet of philosophical, aesthetic, and moral concerns, Graham has also been acknowledged as "our most formidable nature poet" (Publishers Weekly). As gorgeous and formally inventive as anything she has written, Sea Change is an essential work speaking out for our planet and the world we have known.

An NPR Best Book of the Year

A new collection of poetry from one of our most acclaimed contemporary poets, Pulitzer Prize winner Jorie Graham

In her formidable and clairvoyant new collection, Runaway, Jorie Graham deepens her vision of our futurity. What of us will survive? Identity may be precarious, but perhaps love is not? Keeping pace with the desperate runaway of climate change, social disruption, our new mass migrations, she struggles to reimagine a habitable present—a now—in which we might endure, wary, undaunted, ever-inventive, “counting silently towards infinity.” Graham’s essential voice guides us fluently “as we pass here now into the next-on world,” what future we have surging powerfully through these pages, where the poet implores us “to the last be human.”

From Erosion:SAN SEPOLCROJorie Graham. . . . How cleanthe mind is,holy grave. It is this girlby Pierodella Francesca, unbuttoningher blue dress,her mantle of weather,to go intolabor. Come, we can go in.It is beforethe birth of god. No-onehas risen yetto the museums, to the assemblyline bodiesand wings to the open airmarket. This iswhat the living do: go in.It''s a long way.And the dress keeps openingfrom eternityto privacy, quickening.Inside, at the heart,is tragedy, the present momentforever stillborn,but going in, each breathis a buttoncoming undone, something terriblynimble-fingeredfinding all of the stops.Jorie Graham grew up in Italy and now lives in northern California.She has received grants from the Ingram-Merrill Foundation, the Bunting Institute, and the John Simon Guggenheim Memorial Foundation.Her first book, Hybrids of Plants and of Ghosts (Princeton, 1980), won the Great Lakes Colleges Association Award as the best first book of poems published in 1980.

"How I would like to catch the world / at pure idea," writes Jorie Graham, for whom a bird may be an alphabet, and flight an arc. Whatever the occasion--and her work offers a rich profusion of them--the poems reach to where possession is not within us, where new names are needed and meaning enlarged. Hence, what she sees reminds her of what is missing, and what she knows suggests what she cannot. From any event, she arcs bravely into the farthest reaches of mind. Fast readers will have trouble, but so what. To the good reader afraid of complexity, I would offer the clear trust that must bond us to such signal poems as (simply to cite three appearing in a row) "Mother''s Sewing Box," "For My Father Looking for My Uncle," and "The Chicory Comes Out Late August in Umbria." Finally, the poet''s words again: ". . . you get / just what you want" and (just before that), "Just as / from time to time / we need to seize again / the whole language / in search of / better desires."--Marvin Bell

[To] The Last [Be] Human collects fourextraordinary poetry books—Sea Change, Place, Fast, and Runaway—byPulitzer Prize winner Jorie Graham.

From the introduction by Robert Macfarlane:

The earliest of the poems in this tetralogy were written at373 parts per million of atmospheric CO2, and the most recent at 414 parts permillion; that is to say, in the old calendar, 2002 and 2020 respectively. Thebody of work gathered here stands as an extraordinary lyric record of thoseeighteen calamitous years: a glittering, teeming Anthropocene journal, writtenfrom within the New Climatic Regime (as Bruno Latour names the present), rifewith hope and raw with loss, lush and sparse, hard to parse and hugely powerfulto experience … Graham’s poems are turned to face our planet’s deep-timefuture, and their shadows are cast by the long light of the will-have-been. Butthey are made of more durable materials than granite and concrete, they arevery far from passive, and their tasks are of record as well as warning: topreserve what it has felt like to be a human in these accelerated years when‘the future / takes shape / too quickly,’ when we are entering ‘a time / beyondbelief.’ They know, these poems, and what they tell is precise to their form….Sometimes they are made of ragged, hurting, hurtling, and body-fleeinglanguage; other times they celebrate the sheer, shocking, heart-stopping giftof the given world, seeing light, tree, sea, skin, and star as a ‘whirling robehumming with firstness,’ there to ‘greet you if you eye-up.’

I know not to mistake the pleasures of this poetry forpresentist consolation; the situation has moved far beyond that: ‘Wind would benice but / it’s only us shaking.’ … To read these four twenty-first-centurybooks together in a single volume is to experience vastly complex patternsforming and reforming in mind, eye, and ear. These poems sing withinthemselves, between one another, and across collections, and the song thatjoins them all is uttered simply in the first lines of the last poem of thelast book:

   The earth said

   remember me.

   The earth said

   don’t let go,

   said it one day

   when I was

   accidentally

   listening…

It is rare to find in one collection an entire skyline burning and the quiet to follow a single worm, to hear soil breathe—in Jorie Graham''s fifteenth poetry collection, you do.

Jorie Graham’s fifteenth poetry collection, To 2040, opens in question punctuated as fact: “Are we / extinct yet. Who owns / the map.” In these visionary new poems, Graham is part historian, part cartographer as she plots an apocalyptic world where rain must be translated, silence sings louder than speech, and wired birds parrot recordings of their extinct ancestors. In one poem, the speaker is warned by a clairvoyant “the American experiment will end in 2030.” Graham shows us our potentially inevitable future soundtracked by sirens among industrial ruins, contemplating the loss of those who inhabited and named them. 

In sparse lines that move with cinematic precision, these poems pan from overhead views of reshaped shorelines to close-ups of a worm burrowing through earth. Here, we linger, climate crisis on hold, as Graham asks us to sit silently, to hear soil breathe. An urgent open letter to the future, with a habit of looking back, To 2040 is narrated by a speaker who reflects on her own mortality—in the glass window of a radiotherapy room, in the first “claw full of hair” placed gently on a green shower ledge. In poems that look to 2040 as both future and event-horizon, we leave the collection warned, infinitely wiser, and yet more attentively on edge. “Inhale. / Are you still there / the sun says to me.” And, from the title poem, “what was yr message, what were u meant to / pass on?”