Kathleen Graber – författare

Chosen by Pulitzer Prize-winning poet Paul Muldoon to relaunch the prestigious Princeton Series of Contemporary Poets under his editorship, The Eternal City revives Princeton's tradition of publishing some of today's best poetry. With an epigraph from Freud comparing the mind to a landscape in which all that ever was still persists, The Eternal City offers eloquent testimony to the struggle to make sense of the present through conversation with the past. Questioning what it means to possess and to be possessed by objects and technologies, Kathleen Graber's collection brings together the elevated and the quotidian to make neighbors of Marcus Aurelius, Klaus Kinski, Walter Benjamin, and Johnny Depp. Like Aeneas, who escapes Troy carrying his father on his back, the speaker of these intellectually and emotionally ambitious poems juggles the weight of private and public history as she is transformed from settled resident to pilgrim. ______ From The Eternal City: WHAT I MEANT TO SAY Kathleen Graber In three weeks I will be gone. Already my suitcase stands overloaded at the door. I've packed, unpacked, & repacked it, making it tell me again & again what it couldn't hold.Some days it's easy to see the signifi cant insignificance of everything, but today I wept all morning over the swollen, optimistic heart of my mother's favorite newscaster, which suddenly blew itself to stillness. I have tried for weeks to predict the weather on the other side of the world: I don't want to be wet or overheated. I've taken out The Complete Shakespeare to make room for a slicker. And I've changed my mind & put it back. Soon no one will know what I mean when I speak. Last month, after graduation, a student stopped me just outside the University gates despite a downpour. He wanted to tell me that he loved best James Schuyler's poem for Auden. So much to remember, he recited in the rain, as the shops began to close their doors around us. I thought he would live a long time. He did not. Then, a car loaded with his friends pulled up honking & he hopped in. There was no chance to linger & talk.Today I slipped into the bag between two shoes that book which begins with a father digging--even though my father was no farmer & planted ever only one myrtle late in his life & sat in the yard all that summer watching it grow as he died, a green tank of oxygen suspirating behind him. If the suitcase were any larger, no one could lift it. I'm going away for a long time, but it may not be forever. There are tragedies I haven't read. Kyle, bundle up. You're right. It's hard to say simply what is true. For Kyle Booten

An impressive new collection from a poet whose previous book was a finalist for both the National Book Award and the National Book Critics Circle AwardTaking its title from Heraclitus's most famous fragment, The River Twice is an elegiac meditation on impermanence and change. The world presented in these poems is a fluid one in which so much—including space and time, the subterranean realm of dreams, and language itself—seems protean, as the speaker's previously familiar understanding of the self and the larger systems around it gives way. Kathleen Graber’s poems wander widely, from the epistolary to the essayistic, shuffling the remarkable and unremarkable flotsam of contemporary life. One thought, one memory, one bit of news flows into the next. Yet, in a century devoted to exponentially increasing speed, The River Twice unfolds at the slow pace of a river bend. While the warm light of ideas and things flashes upon the surface, that which endures remains elusive—something glimpsed only for an instant before it is gone.

An impressive new collection from a poet whose previous book was a finalist for both the National Book Award and the National Book Critics Circle AwardTaking its title from Heraclitus's most famous fragment, The River Twice is an elegiac meditation on impermanence and change. The world presented in these poems is a fluid one in which so much—including space and time, the subterranean realm of dreams, and language itself—seems protean, as the speaker's previously familiar understanding of the self and the larger systems around it gives way. Kathleen Graber’s poems wander widely, from the epistolary to the essayistic, shuffling the remarkable and unremarkable flotsam of contemporary life. One thought, one memory, one bit of news flows into the next. Yet, in a century devoted to exponentially increasing speed, The River Twice unfolds at the slow pace of a river bend. While the warm light of ideas and things flashes upon the surface, that which endures remains elusive—something glimpsed only for an instant before it is gone.