Rae Armantrout – författare

Observant and visionary poems offer way stations amidst turmoil_x000D_/>_x000D_/>Acclaimed author Rae Armantrout's remarkable new collection Safe Rooms, explores the undercurrents of modern life with an unflinching eye on human nature, social malaise, and the unsettling ways in which we attempt to protect ourselves from a world that continually undermines our sense of safety. As the title poem says: "your thoughts /roar and echo//around you—originating/god knows where.// You try to plug your ears/but you are an ear/ that can't stop listening." Through poems that examine our darker impulses—our tendencies to self-destruct, to grapple with envy, and to navigate the intricate web of family dynamics—Armantrout captures the complex, often contradictory ways in which we search for meaning and connection. Her work holds a mirror to the forces shaping us, both intimate and vast, showing that the so-called "safe rooms" we construct are fragile, temporary shelters, not havens from the chaos that surrounds us._x000D_/>_x000D_/>[sample poem]_x000D_/>_x000D_/>THE UNCERTAINTY PRINCIPLE_x000D_/>_x000D_/>        1_x000D_/>_x000D_/>An atom "is localized_x000D_/>by an interaction"_x000D_/>_x000D_/>the way you surprise yourself_x000D_/>by expressing an opinion_x000D_/>_x000D_/>when asked,_x000D_/>_x000D_/>one you didn't know you had_x000D_/>and may not hold_x000D_/>_x000D_/>for long._x000D_/> _x000D_/> _x000D_/>        2_x000D_/> _x000D_/>A subatomic particle is not_x000D_/>its mass or spin_x000D_/> _x000D_/>the way a person_x000D_/>is not a body_x000D_/> _x000D_/>and a poem is not_x000D_/>what it says.

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Keen, pithy meditations on a world that continues to surprise us/>/>The poems in Pulitzer Prize-winner Rae Armantrout's new book are concerned with "this ongoing attempt/ to catalog the world" in a time of escalating disasters. From the bird who "check-marks morning/once more//like someone who gets up/to make sure// the door is locked" to bat-faced orchids, raising petals like light sails as if about to take flight, these poems make keen visual and psychological observations. The title Go Figure speaks to the book's focus on the unexpected, the strange, and the seemingly incredible so that: "We name things/ to know where we are." Moving with the deliberate precision that is a hallmark of Armantrout's work, they limn and refract, questioning how we make sense of the world, and ultimately showing how our experience of reality is exquisitely enfolded in words. "It's true things fall apart." Armantrout writes. 'Still, by thinking/we heat ourselves up."/>/>Sample Text/>/>HYPER-VIGILANCE/>/>Hilarious,/>/>the way a crab's slender/>eye-stalks/>stand straight up/>/>from its scuttling/>carapace—/>/>the way vigilance/>takes many forms?/>/> */>/>That bird check-marks morning/>once more/>/>like someone who gets up/>to make sure/>/>the door is locked./>/> */>/>I sound/>like I know/>what I'm talking about./>/>I sound like a comedian.

A chapbook from Pulitzer Prize winner Rae Armantrout on climate change.Notice is the product of a life-long interest in natural sciences by Pulitzer Prize winning poet Rae Armantrout. The collection draws poems from her previous books calling our attention to how language frames and shapes our relationships to climate and kin. The title is a call to take heed of the signs coming to us daily. "Notice" can be read as a noun or a verb. As a noun it might be thought of as a public warning. The author has selected poems that respond in various ways to the environmental crisis which we all see developing and about which we don't seem to be able to take appropriate action. The poem "Preparedness," for instance, hazards a wild guess about the cause of this failure to act. Some of the poems here address the problem directly. In others the focus is broader or the approach more subtle. There are even a few poems in which the author allows for something like hope.

Rae Armantrout has always organized her collections of poetry as though they were works in themselves. Versed brings two of these sequences together, offering readers an expanded view of the arc of her writing. The poems in the first section, Versed, play with vice and versa, the perversity of human consciousness. They flirt with error and delusion, skating on a thin ice that inevitably cracks: "Metaphor forms / a crust / beneath which / the crevasse of each experience." Dark Matter, the second section, alludes to more than the unseen substance thought to make up the majority of mass in the universe. The invisible and unknowable are confronted directly as Armantrout's experience with cancer marks these poems with a new austerity, shot through with her signature wit and stark unsentimental thinking. Together, the poems of Versed part us from our assumptions about reality, revealing the gaps and fissures in our emotional and linguistic constructs, showing us ourselves where we are most exposed. A reader's companion is available at http://versedreader.site.wesleyan.edu/

Entanglements is the product of a years-long interest in science, particularly physics by Pulitzer Prize winning poet, Rae Armantrout. The collection includes poems from her previous books, as well as four new poems. Armantrout delved into books intended to make science accessible for the average person, as well as engaged in conversations with physicists. The title is inspired by the way particles can become so entangled that any space between them becomes irrelevant, but also by the way in which the author’s daily life became entangled with the exploration of physics.

What will we call the last generation before the looming end times? With Finalists Rae Armantrout suggests one option. Brilliant and irascible, playful and intense, Armantrout nails the current moment's debris fields and super computers, its sizzling malaise and confusion, with an exemplary immensity of heart and a boundless capacity for humor. The poems in this book find (and create) beauty in midst of the ongoing crisis.

Rae Annantrout (Vallejo, California, 1947), asociada a la poesía del lenguaje y Premio Pulitzer de Poesía en 2010, ha ido añadiendo, libro tras libro, razones para la extrañeza de la palabra poética desde finales de los años setenta del siglo XX. Desafiando las convenciones del poema ordenado por un «yo» lírico omnisciente de cuya existencia se permite dudar a cada paso, Annantrout conjuga ética y estética en una propuesta artística rica en matices líricos (ritmo, sonido) y temáticos (la naturaleza, la física, el inconsciente) que invita al lector a reconsiderar sus propias herramientas de interpretación, al tiempo que expone los usos fraudulentos del lenguaje por parte de los medios de comunicación de masas y su invasión de nuestra subjetividad, cada vez más indefensa e inarticulada. Todo un reto, dentro y fuera de la poesía anglo norteamericana.