Stephen Dunn – författare

Incisively capturing the oddities of our logic and the whimsies of our reason, the poems in Whereas show there is always another side to a story. With graceful rhythm and equal parts humor and seriousness, Stephen Dunn considers the superstition and sophistry embedded in everyday life: household objects that seem to turn against us, the search for meaning in the barrage of daily news, the surprising confessions between neighbors across a row of hedges. Finding beauty in the ordinary, this collection affirms the absurdity of making affirmations, allowing room for more rethinking, reflection, revision, prayer, and magic in the world.

"Between Angels affirms what we are capable of in our best moments—grace, tenderness, love—while acknowledging that the human heart can be merciless. It's a book of great breadth."--Gregory Djanikian, Philadelphia Inquirer

"Here is the mature work of a poet who has always managed to delight—but who now demands something more of us. He asks us to enter the twenty-first century with open eyes: attentive to the past, eager for the future, naming what we love."—Judith Kitchen, Georgia Review

Justly celebrated as one of our strongest poets, Stephen Dunn selects from his eight collections and presents sixteen new poems marked by the haunting "Snowmass Cycle."

In this tenth collection, Stephen Dunn turns his "wise, well-practiced eye" (Library Journal) on an America growing ever more stringent with its daily mercies. Not content merely to observe the world, Dunn's stance is always dual, complicit. And as he navigates through each paradox of his moral and aesthetic and erotic selves, this poet, described by Sydney Lea as one "who remains open to contradictions," travels to a place of exact and complicated vision.

Stephen Dunn experiments with short, related pieces that play off each other in the manner of jazz improvisations. The resulting pairs cover such subjects as "Scruples/Saints," "Hypocrisy/Precision," and "Anger/Generosity." The wisdom and startling turns we've come to expect from Dunn are everywhere in the ninety miniatures (forty-five pairs) that comprise this volume.

A wise and graceful new collection by one of our "major, indispensable poets" (Sidney Lea). The mysteries of Eros and Thanatos, the stubborn endurance of mind and body in the face of diminishment--these are the undercurrents of Stephen Dunn's eleventh volume. "I am interested in exploring the 'different' hours," he says, "not only of one's life, but also of the larger historical and philosophical life beyond the personal."

In his twelfth collection, his first since winning the Pulitzer Prize, Stephen Dunn turns his keen gaze on Sisyphus, our contemporary Everyman. Free, for the time being, from the power of the gods and the ceaseless weight of the rock, he struggles to navigate twenty-first-century America. In language by turns mordant and tender, often elegiac, Dunn illuminates the quotidian burdens of his all-too-human hero, as well as the abrasions of ambivalence and choice, finally concluding that "here / and there, though mostly here, even fate is reversible / with struggle or luck."In a second sequence of poems, nineteenth-century novelists become "local visitors" to the author's South Jersey towns. "Chekhov in Port Republic," "Jane Austen in Egg Harbor," "Dostoyevsky in Wildwood": these inventions and others give Dunn provocative new latitudes. As in his previous books, "he balances the casual and the vivid as he plumbs the ambiguity and mystery of human relations" (New York Times Book Review).

"Beauty isn't nice. Beauty isn't fair;" So, in part, states an epigraph for this stunning new collection, his thirteenth, by the Pulitzer Prize winner for Poetry (2000). First traversing betrayal and loss, Stephen Dunn then moves to speak of new love, with its attendant pleasures and questioning. The title poem, perhaps emblematic of the book as a whole, is evocative of beauty's often surprising manifestations even in the light of tragedy; as on that terrible day "when those silver planes came out of the perfect blue." Because beauty jars us, makes us look twice, it is as startling as a good poem, and as insistent. Fortunately, it is never too late to search for the right words for what we've seen, felt, endured. With quiet authority Dunn enacts what it feels like to be a particular man at a particular juncture of his life; struggling not to deny, but to name, then rename.

In his fourteenth collection, Stephen Dunn, “one of our indispensable poets” (Miami Herald), continues to probe brilliantly the unsaid and the elusive in the lives we live, in language that Gerald Stern has called “unbearably fearless and beautiful.”

What Goes On displays the evolving style and sensibility of a major award-winning poet, and a traceable growth that has blossomed into a provocative confrontation with questions of consciousness and existence. Stephen Dunn’s poems probe life’s big questions without ever losing sight of the significance of the mundane.

In his sixteenth collection, Stephen Dunn continues to bring his imagination and intelligence to what Wallace Stevens calls “the problems of the normal,” which of course pervade most of our lives. The poem “Don’t Do That” opens with the lines: “It was bring-your-own if you wanted anything / hard, so I brought Johnnie Walker Red / along with some resentment I’d held in / for a few weeks.” In other poems, Dunn contemplates his own mortality, echoing Yeats—“That is no country for old men / cadenced everything I said”—only to discover he’s joined their ranks. In “The Writer of Nudes” his speaker is in search of the body’s “grammar” but tells his models, “Don’t expect to see yourself as other / than I see you.” Full of grace, wit, humor, and masterful precision, the poems in Here and Now attest to the contradictions we live with in the here and now. Political and metaphysical, these astonishing poems remind us of the essential human comedy of getting through each day.from "The House on the Hill". . . from out of the fog,a large, welcoming house would emergemade out of invention and surprise.No things without ideas! you'd shout,and the doors would open,and the echoes would cascade downto the valleys and the faraway towns.

In his seventeenth collection of poetry, Pulitzer Prize winner Stephen Dunn confronts the lines we fight against and the ones we draw for ourselves. Lines of Defense poignantly captures the absurdities of modern life, expectations derailed, the lived life juxtaposed to the imagined life, and the defences we don to make do. The poems in Lines of Defense are wry and elegiac, precisely observed and wide-reaching. As with the best of Dunn’s work, they take stock of the quotidian aspects of life, of the essential comedy of getting through the day: finding a lost cat; not being invited to a party; taking a granddaughter to a carnival. The lines of defense are the lines of the verse itself, as poetry forms a stronghold against mortality. This essential volume showcases a poet writing at the height of his powers.

Incisively capturing the oddities of our logic and the whimsies of our reason, the poems in Whereas show there is always another side to a story. With graceful rhythm and equal parts humour and seriousness, Stephen Dunn considers the superstition and sophistry embedded in everyday life: household objects that seem to turn against us, the search for meaning in the barrage of daily news, the surprising confessions between neighbours across a row of hedges. Finding beauty in the ordinary, this collection affirms the absurdity of making affirmations, allowing room for more rethinking, reflection, revision, prayer and magic in the world.

In this meditative and incisive collection, Pulitzer Prize winner Stephen Dunn draws on themes of morality and mortality to explore the innermost machinations of human nature. Shifting in tone but never wavering in their essential honesty, these poems reflect on desire, restraint and the roles we play in an ever-evolving society. A stunning sequence on the relationship between the speaker and “Mrs. Cavendish” examines an intimacy sustained and repelled by politics, philosophy and attraction.Wide-ranging, intellectually daring and wry, Pagan Virtues reminds us of Dunn’s penetrating eye for the universal and the specific, and his ability to highlight our contradictions with tenderness and wit.

This important new book introduces, analyzes and takes forward a post-Keynesian theory of the firm. It makes a vital contribution to the conceptualisation of uncertainty that is consistent with the methodological presuppositions of Post Keynesian economics. The author attempts to make a positive contribution to the development of Post Keynesian economics by refuting allegations of incoherence, detailing some of the salient implications of a transmutable conception of economic processes and then starting to explore what this means for how Post Keynesians conceptualise uncertainty. The book argues that the Post Keynesian distinctive view of time, understood as a non-deterministic open systems process, is a core and defining characteristic which is linked to its theoretical discussion of money and the principle of effective demand.Covering areas such as the coherence of Post Keynesianism, the future of Post Keynesian economics and Keynesian methodological debates, this book is useful reading for all Post Keynesian scholars with a strong interest in economic methodology and the philosophical underpinnings of economics.

This important new book introduces, analyzes and takes forward a post-Keynesian theory of the firm. It makes a vital contribution to the conceptualisation of uncertainty that is consistent with the methodological presuppositions of Post Keynesian economics. The author attempts to make a positive contribution to the development of Post Keynesian economics by refuting allegations of incoherence, detailing some of the salient implications of a transmutable conception of economic processes and then starting to explore what this means for how Post Keynesians conceptualise uncertainty. The book argues that the Post Keynesian distinctive view of time, understood as a non-deterministic open systems process, is a core and defining characteristic which is linked to its theoretical discussion of money and the principle of effective demand.Covering areas such as the coherence of Post Keynesianism, the future of Post Keynesian economics and Keynesian methodological debates, this book is useful reading for all Post Keynesian scholars with a strong interest in economic methodology and the philosophical underpinnings of economics.

One hundred years after his birth, J. K. Galbraith’s The Great Crash 1929 is again on the bestseller lists. And in the current financial and economic tumult, familiar Galbraithian concerns—such as the power and dominance of overweening corporations, national and global poverty, and the careless destruction of the natural environment—once again loom large in the public consciousness.Galbraith’s contemporaries included such towering intellects as Paul Samuelson, Robert Solow, Milton Friedman, Wassily Leontief, Simon Kuznets, James Meade, Nicolas Kaldor, and Joan Robinson. These intellectual giants took Galbraith and his ideas seriously. Today, however, Galbraith remains professionally unpopular, and many economists have either forgotten his contribution, or fail sufficiently to acknowledge their intellectual debt to him.This new four-volume collection from Routledge remedies this failing by highlighting Galbraith’s centrality to the crucial economic debates of the second half of the twentieth century. The collection has been designed to acquaint the user to Galbraith’s economics and his vision of the economic process; to contribute to the long overdue re-evaluation of Galbraith’s place in the study of economics; and to help establish new directions for future research in the Galbraithian tradition.The collection reproduces J. K. Galbraith’s major theoretical economic contributions including: Galbraith’s original—but largely ignored—contribution to the theory of the firm, which shares many similarities with the work of Ronald Coase and Oliver Williamson; his monetary economics (which embodies elements of both Keynes and the new consensus in macroeconomics); and Galbraith’s exploration of financial euphoria, which predates Robert Shiller’s analysis of ‘irrational exuberance’.The set also brings together the critical and professional reactions to American Capitalism, The Affluent Society, The New Industrial State, and Economics and the Public Purpose, with an additional focus on more recent assessments which identify Galbraith’s deeper theoretical contributions and highlight its contemporary relevance.J. K. Galbraith: The Economic Legacy is edited by Stephen P. Dunn, a leading scholar in the field. The collection is fully indexed and has a comprehensive introduction, newly written by the editor, which places the material in its intellectual context. It is an essential work of reference and is destined to be valued by scholars and students as a vital one-stop research resource.

This reissue was first published in 1982. It deals specifically with the ‘Asiatic mode of production’ described by Karl Marx in his basic evolutionary model for human society. The term defines a special form of society marked by state ownership of the means of production and extensive intervention by the state in all forms of social life. In the soviet Union, the concept has had a chequered and controversial career: leading writers, primarily Stalin, have denied its very existence, mobilizing the heavy artillery of state ideology in their defence, whilst later scholars show signs of reversing this trend.Drawing on a large body of Soviet writing on historiography, Stephen Dunn develops a critical analysis of the issue, and introduces important corrections to the accounts hitherto available in the West. His work should be of major interest to students of Soviet politics, economists and Marxists.

This reissue was first published in 1982. It deals specifically with the ‘Asiatic mode of production’ described by Karl Marx in his basic evolutionary model for human society. The term defines a special form of society marked by state ownership of the means of production and extensive intervention by the state in all forms of social life. In the soviet Union, the concept has had a chequered and controversial career: leading writers, primarily Stalin, have denied its very existence, mobilizing the heavy artillery of state ideology in their defence, whilst later scholars show signs of reversing this trend.Drawing on a large body of Soviet writing on historiography, Stephen Dunn develops a critical analysis of the issue, and introduces important corrections to the accounts hitherto available in the West. His work should be of major interest to students of Soviet politics, economists and Marxists.

Hailed as "indispensable" (David Wojahn), poet Stephen Dunn masterfully shifts between the metaphysical and the ironic, never wavering in his essential honesty. His graceful poems confront our contradictions with tenderness and wit, enliven the ordinary with penetrating observation and alert us to the haunting wonders and relationships that surround us.The Not Yet Fallen World draws from all nineteen of Stephen Dunn’s crystalline volumes, including his most recent, Pagan Virtues (2019); the National Book Critics Circle Award Finalist Loosestrife (1996); and the Pulitzer Prize–winning Different Hours (2000). By turns sardonic and profound, Dunn examines the disguises we don to hide from ourselves and reveals sublime beauty hidden within seemingly mundane interactions. Nine new poems extend the poet’s inquiry into the paradoxes of contemporary life; as he writes in "Love Poem Near the End of the World", "Something keeps me holding on / to a future I didn’t think possible".Arranged to further Dunn’s signature themes—mortality, morality and the roles we play in the essential human comedy of getting through each day—this final collection captures the breadth of an acclaimed poet’s achievement. His legacy is a poetic expanse suffused with fearless generosity and perceptive wisdom.

Committed to exploring the role of poetry and poets in our culture, Stephen Dunn provides new, expanded versions of the essays originally published by W. W. Norton in 1993, now out of print. In Walking Light, Dunn discusses the relationship between art and sport, the role of imagination in writing poetry, and the necessity for surprise and discovery when writing a poem. Humorous, intelligent and accessible, Walking Light is a book that will appeal to writers, readers, and teachers of poetry. Stephen Dunn is the author of eleven collection of poetry. He teaches writing and literature at the Richard Stockton College in Pomona, New Jersey, and lives in Port Republic, New Jersey.