Robert Finch – författare

When Common Ground was first published, Annie Dillard praised Robert Finch's essays for "their strength, subtlety, and above all their geniality." New readers will have a chance to discover that Finch's Cape Cod is indeed a wonderful place. The birds, fish, and animals that share the cape's fragile ecology on any given summer day with the human residents are described with the fresh eye of a first-rate nature writer.

Those who have encountered Cape Cod know that it is a singular place. In The Outer Beach, Robert Finch weaves together his collected writings from more than fifty years and more than a thousand miles of walking along Cape Cod’s Atlantic coast to create a poignant, candid chronicle of an iconic landscape.

On fog-shrouded barrier island or deep in winter woods, eighteen essays describe the wild, outer half of Cape Cod. Robert Finch is a vivid witness to our participation, whether as individuals or as communities, in the mysteries of natural experience. As he explains: “One of the primary reasons this place yields so much to me so consistently is that I have invested so much of myself into it, physically, mentally, and emotionally . . . a thousand simple, repeated, physical acts have given this landscape a texture for me so that even its most casual aspect is filled, not with slick charm or abstract nostalgia, but with living, tactile memory.” In these essays, Finch demonstrates once again his profound willingness to ask essential questions. These essays recognize our need for both the human and the nonhuman in our lives; they probe the ambiguities in our response to the terror and beauty of the natural world and the love and aggression we struggle with in our associations with one another. Robert Finch’s remarkable prose offers high entertainment, but also gives us new sympathies for and understanding of both nature and ourselves.

This is a voyage of discovery, a personal odyssey into the nature of a single Cape Cod neighborhood. It is a rich portrait, beautifully drawn, of a landscape and a community whose essential character lies in their penetrating interface with the sea. But it is also an individual quest, a journey ofthe heart and mind in which the author seeks "entrance, or rather re-entrance" into "that vast living maze stretching out beyond my lines of sight."

Robert Finch arrived in Newfoundland in the summer of 1995 heartsick, directionless, his old life on Cape Cod in tatters. Burnside, located in Newfoundland’s rugged northeast, seemed like a good place to heal. The coastal village was home to just fifty year-round residents, and accessible only by a hundred-mile ferry crossing. Finch was drawn in by the landscape of low ridges and archipelagos of rocky islands, but he returned to Burnside for its strong sense of community, and the possibility that it might provide a new pattern for his ow life.Eventually Finch became a summer resident, buying a house, playing organ for the church, and fishing the area’s waters. Offering a portrait of the Newfoundland character and culture, Summers in Squid Tickle explores how three generations of the village have grappled with the changes of the past century—from the rise and collapse of commercial cod fishing, and the migration of young people away from the outport, to the distant hope for tourism and new industries to sustain a disappearing way of life. With characteristically elegant prose and deep sensitivity, Finch introduces us to Squid Tickle’s inhabitants—a collection of hardy fishermen, vigorous retirees, and close neighbors, as well as the woman who would become his wife.Even as the fish in Squid Tickle’s waters vanish, Finch sketches the enduring relationship of a village with the sea—for food, work, leisure, and a rich community life—in the midst of an unforgiving but stunning landscape. Summers in Squid Tickle speaks to the desire we all have in our era to seek quiet, and to reevaluate our connection to each other and the natural world.

Robert Finch arrived in Newfoundland in the summer of 1995 heartsick, directionless, his old life on Cape Cod in tatters. Burnside, located in Newfoundland’s rugged northeast, seemed like a good place to heal. The coastal village was home to just fifty year-round residents, and accessible only by a hundred-mile ferry crossing. Finch was drawn in by the landscape of low ridges and archipelagos of rocky islands, but he returned to Burnside for its strong sense of community, and the possibility that it might provide a new pattern for his ow life.Eventually Finch became a summer resident, buying a house, playing organ for the church, and fishing the area’s waters. Offering a portrait of the Newfoundland character and culture, Summers in Squid Tickle explores how three generations of the village have grappled with the changes of the past century—from the rise and collapse of commercial cod fishing, and the migration of young people away from the outport, to the distant hope for tourism and new industries to sustain a disappearing way of life. With characteristically elegant prose and deep sensitivity, Finch introduces us to Squid Tickle’s inhabitants—a collection of hardy fishermen, vigorous retirees, and close neighbors, as well as the woman who would become his wife.Even as the fish in Squid Tickle’s waters vanish, Finch sketches the enduring relationship of a village with the sea—for food, work, leisure, and a rich community life—in the midst of an unforgiving but stunning landscape. Summers in Squid Tickle speaks to the desire we all have in our era to seek quiet, and to reevaluate our connection to each other and the natural world.

This anthology has a double aim: to present a body of poetry, none of it easily available, some of it never before reproduced, and to point up a particular trend, until now nearly lost sight of in the maze of generalizations about eighteenth-century French poetry. This trend, called individualist, in contradistinction to the academic and universalist trends of the century, has been chosen since it is the least known and most original of the three.The individualist poets are avowed moderns, and their attitude toward poetry and their concept of its nature often anticipate attitudes held by our poets of our own time. There has not been available to this point a sufficiently representative body of poems by these poets, a gap that Professors Finch and Joliat have attempts to fill with their anthology.Readers will find the notes to the poems especially useful, since many of them provide out-of-the-way background material and, as well, offer new insights into the poetry of the individualist poets as a group.

It has long been the custom to condemn eighteenth-century French poetry outright as generally unworthy of attention. However, in keeping with a recent change of attitude towards this vast and diverse body of literature, Professor Finch here undertakes to isolate a certain group of poets, belonging to the first half of the century, who may appropriately be called individualistes and who are in various ways characteristic of a definite and important trend of their time. The authors he has chosen were selected from the larger group of individualists because each provides, in addition to his poems, a complete statement of his own conception of poetry and of that conception which is common to the group as a whole. Since the works treated are comparatively unfamiliar the author has considered them from a historical and an analytical as well as a critical point of view. In addition he has devoted three special chapters to a literary historian (Evrard Titon du Tillet) and to three critical theorists (Jean-Baptiste Dubos, Yves-Marie André, and Charles Batteux) whose contemporary writings, while they may or may not have influenced the poets here examined, support, reflect, or confirm their ideas and practice. Texts of these poets are not easily available and the numerous representative quotations from the poems given in this book will be welcomed by the reader.