Sydney Lea – författare

This is the first comprehensive study in the English language of the commentaries of Didymus the Blind, who was revered as the foremost Christian scholar of the fourth century and an influential spiritual director of ascetics.  The writings of Didymus were censored and destroyed due to his posthumous condemnation for heresy. This study recovers the uncensored voice of Didymus through the commentaries among the Tura papyri, a massive set of documents discovered in an Egyptian quarry in 1941.  This neglected corpus offers an unprecedented glimpse into the internal workings of a Christian philosophical academy in the most vibrant and tumultuous cultural center of late antiquity. By exploring the social context of Christian instruction in the competitive environment of fourth-century Alexandria, Richard A. Layton elucidates the political implications of biblical interpretation.  Through detailed analysis of the commentaries on Psalms, Job, and Genesis, the author charts a profound tectonic shift in moral imagination as classical ethical vocabulary becomes indissolubly bound to biblical narrative. Attending to the complex interactions of political competition and intellectual inquiry, this study makes a unique contribution to the cultural history of late antiquity.

In A Hundred Himalayas, Sydney Lea has collected a group of essays written over 30 years, representing what he refers to as the persistence of preoccupations and the absence of theory---a group of speculations, each one a single Himalaya, together a great elevation achieved in small increments. His musings on his own "favored genius," Robert Frost, his own approach to literary criticism, imagination, the American nature essay, rural life, the process of writing a poem, and fitting writing into everyday life all combine to create a picture of the things that interest Lea. "If there is grandeur at all in this volume," he says, "then, it must come in small increments." All of his small increments of gentle and insightful writing combine to create a collection that is, indeed, grand.

In Sydney Lea’s poems, purest joy and woe flash amid the mundane, and beauty knows the full range of nature—from the plumed tension of a newborn child twisting away from the ready breast to bright birds lying dead on the winter lawn. Many of these poems are backward looking, savoring the gentle pause at summer’s end, recalling with fledgling hope former victories of spring, seeking in the woeful host of memory something that has held its charge.

One of the most influential modern poets, Anthony Hecht (1923–2004) was awarded virtually every major American prize for poetry, including the Pulitzer and the Bollingen. Written mostly by other poets, in styles ranging from the informal to the scholarly, these essays explore Hecht’s image and poetic devices, his debts to other poets, and his place in the study of modern poetry. The Burdens of Formality presents varied perspectives that demonstrate the extensive influence that Hecht has commanded on the work of modern poets and the study of verse.

A collection of 130 poems contributed by Frost Place residents, many of whom have risen to prominence. Some contributors' poems were written during their tenures on the farm. Such poets as Robert Hass, Gary Miranda, Mary Jo Salter, Cleopatra Mathis, Denis Johnson and Stanley Plumly explore the depth and breadth of their time spent in Frost's New Hampshire. Eminent poet Donald Hall wrote the foreword and includes a cache of Frost's poems from Mountain Interval.

“So good it hurts to read.”—Annie ProulxSet against a backdrop of the remote northern Maine wilderness, Now, Look is a novel about second chances and missed chances. Fishing, hunting, and the pleasures of outdoor life bring together a mismatched pair of friends—weaving back and forth between past and present, it follows the friendship of ivy-league educated George Mayes and semi-literate woodsman and logger Evan Butcher. George, a drunk from his college days has a critical, life-changing moment of insight, and begins postgraduate life, however improbably, as a reckless school bus driver. After getting clean and sober, he develops a successful school transportation business. Having taken a number of trips to the north woods, he has come to know and revere Evan. At the story’s opening, Evan is a store of knowledge, decency, and even of wisdom. But after a series of horrendous family tragedies he begins to succumb to alcohol himself.

The unlikely friendship between professor Brant Healey and Louis, an unlettered, superstitious woodsman, is at the heart of A Place in Mind. These two men love fishing and hunting, the rural Maine landscape, whiskey from tin cups, and the stories that emerge around campfires by cold rivers.

This grand collection of poetic narratives by a versatile New England poet/novelist/naturalist demonstrates that his muscular meditative line can be potently adapted to telling the stories we most hope to hear. These poems form a vivid portrait of a compelling region and salt-of-the-earth characters that moves in step with the work of other Vermont poets, such as David Budbill and Hayden Carruth.

What does a good long ramble in the woods tell us about our shared experiences, our loneliness. Is it possible to shed our civilized layers of defensive behavior, our fear of unmasking and discovery, of the unknown or once-known and forgotten? Join celebrated outdoorsman and poet Sydney Lea as he walks off into his beloved New England woods on a vision quest that touches everyone who reads along to keep him company. One's own shape-shifting powers come into focus in the light of Lea's surprising discoveries and revelations.

A thoughtful meditation on the central paradox of 20th-century hunting: stalking and killing wild animals can bring one closer to a mostly forgotten elemental earth.

“Singer of stories, lyric raconteur, Sydney Lea has evolved—through a long, rich career—into one of America’s most harrowing and honest poets. Ghost Pain is his most eloquent and wrenching book.”—T.R. Hummer“Ghost Pain is a remarkable book, which takes his work to a new level.”—Stephen DunnThe eighth poetry collection by the founder of New England Review explores addiction, alcoholism, violence and the uses and inadequacies of art.