Yale Series of Younger Poets – Serie

“The Earth in the Attic reads like a quiet storm of human emotions and experiences. . . . Joudah's poems explore loss, displacement, suffering, and longing. They drift from the personal and specific to the larger stories of peoples and nations that Joudah encounters. . . . [His] unique talent is to offer poetry readers a look at a wounded and fractured world through his eyes.”—Lena Khalaf Tuffaha, Institute for Middle East Understanding  Winner of the Yale Younger Poets competition, 2007  In The Earth in the Attic, Fady Joudah, a Palestinian-American physician, explores big themes—identity, war, religion, what we hold in common—while never losing sight of the quotidian, the specific. Contest judge Louise Glück describes the poet in her Foreword as “that strange animal, the lyric poet in whom circumstance and profession . . . have compelled obsession with large social contexts and grave national dilemmas.” She finds in his poetry an incantatory quality and concludes, “These are small poems, many of them, but the grandeur of conception is inescapable. The Earth in the Attic is varied, coherent, fierce, tender; impossible to put down, impossible to forget.”

Finalist for the 2005 National Book Critics Circle Award in Poetry—an erotic, powerful collection  An Atlantic choice for “Best American Poetry of the 21st Century (So Far)”  “One of the best books of contemporary poetry.”—Victoria Chang, Huffington Post  “Vital, immediate, and cinematic in scope.”—Library Journal (Best Poetry of 2005)  Selected by Nobel Prize laureate and competition judge Louise Glück as the 2004 winner of the Yale Younger Poets prize, Richard Siken’s Crush is a powerful collection of poems driven by obsession and love. Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken’s voice is striking.  In her introduction to the book, Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

Winner of the 1978 Yale Series of Younger Poets competition

Richard Hugo has selected William Virgil Davis's One Way to Reconstruct the Scene as the 1979 winner of the Yale Series of Younger Poets competition. In his foreword to the volume Hugo says: "William Virgil Davis is a poet who, when he writes, contends with a loving self who wants to render the world as found. His battle is the classic one, the memory versus the imagination. . . . 'Memory is the first property of loss,' Davis tells us, and that may be true. At least it is worth considering. Certainly a scene, no matter how initially unattractive, reconstructed lovingly in active language posing as passive recall is a true property of gain. Davis believes in and works to create a world we can humanely attend the second time around, and his poems often provide that second chance."

Winner of the 1981 Yale Series of Younger Poets competition  “David Wojahn’s poems concern themselves with emotive basics: leaving home, watching those we love age and die, the inescapable drone of our mortality. Yet as poems, they are far from usual. They help us welcome inside, again and again, the most personal of feelings.”—Richard Hugo, poet and judge of the competition

Richard Kenney's The Evolution of the Flightless Bird, the winning volume in the 1983 Yale Series of Younger Poets competition, was selected from among 650 entries in this annual competition.  All of one species whose origin is the sonnet, Kenney's poems ring many changes through that form, reflecting, as they do, a personal evolution in the poet's life. "The Hours of the Day"—the first of four chapters—is a long meditative sequence set in Vermont; here the square-shaped poems become the crown glass windowpanes of the farmhouse itself. "First Poems" follows next, a group of eight lyrics, ending with the poem that titles the book. "Heroes," a narrative quartet, with two poems from history and two from life, concerns itself with the shaping of all tales, from source to first telling. Finally, "Notes from Greece" chronicles certain thoughts and adventures there, notably a visit to the Byzantine monastic communities that ring the peninsula of Mt. Athos. Born in Glens Falls, New York, in 1948, Richard Kenney received his B.A. from Dartmouth College in 1970. His poems have appeared in numerous magazines, including The New Yorker, The Atlantic Monthly, Hudson Review, American Scholar, Poetry, The Yale Review, Carolina Quarterly, and New England Review.

The winning volume in the 1988 Yale Series of Younger Poets competition is Out of the Woods by Thomas Bolt. As James Merrill, distinguished poet and judge of the competition, has said: "Here is an up-to-date pastoral: wrecked cars, glades of debris, polluted streams, all gravely held in Thomas Bolt's unflinching gaze. 'I had found,' he writes, 'the secret center of America.' Given this wealth of evidence, its bleakness and sparkle, we can almost bring ourselves to believe him."  A Hill in Virginia In this rude worldMemory pertainsIn bald things,Of promises skipped over, violenceOr accidents of kissing.Read within the deep patinaOf the old stumpOf a shainsawed black walnutIts circularHistory from sex to ruin; Look whereCracked and spattered chunks of cold quartzStuck in mudGlitter up from a dull hill.Downhill, the wrecked car:A punched in windshieldSags whole,An afterimage of collision,Brilliant with sky.

The winning volume in the 1989 Yale Series of Younger Poets competition is Hermit with Landscape by Daniel Hall. As James Merrill, distinguished poet and judge of the competition, has said: "Daniel Hall is a patient craftsman, a weigher of each word. Smaller and more lucid than their model, his imitations of life place no burden upon us; rather, their deftness lightens our step. Here mind once again outdances the monumental." Tidal A moth hove out of fog. All I heardwas the incessant dissolvingof the surf, attenuated, drawnthrough eggshell, bone and ashas through the walls of another room. After dark, before a glass,in a hall reeling with shadows, a pair of eyes resolved. At lastthey shone: they shonelike phosphorescent moons.

Nicholas Samaras's Hands of the Saddlemaker, the winning volume in the 1991 Yale Series of Younger Poets competition, was selected from among 710 entries in this annual competition. The broad theme of Samaras's poems is the connection between eternal things and the passing world, between our sense of exile and our sense of commonality. Equilibrium between these worlds is achieved only through human feeling, through language. Samaras examines the commonality of experience in diverse international settings—from Byzantium to the cathedrals of technology in the modern cities of America. His language extols the primary delight and purpose of poetry: the music and inventiveness of language, wholly new and transformed, language that is both ancient and modern. Through an intensely personal and visual approach, these poems reveal our lives to us for time to come.  Nicholas Samaras was born in Foxton, Cambridgeshire, England, in 1954. He was raised there and in Woburn, Massachusetts, and later settled in New York. Samaras received his undergraduate degree from Hellenic College, Brookline, Massachusetts, in 1978 and a Masters of Fine Arts in 1985 from Columbia University. He is currently working on his Ph.D. in English and creative writing at the University of Denver. His poems have appeared in such magazines as The New Yorker, Poetry, and American Scholar. Among his honors and awards are a New York Foundation for the Arts Poetry Fellowship in 1986, a Taylor Fellowship for study abroad in 1981-82, and a prize from the Academy of American Poets in 1983.

The winning volume in the 1993 Yale Series of Younger Poets competition is Thinking the World Visible, by Valerie Wohlfeld. As James Dickey, distinguished poet and judge of the competition, has said, "Valerie Wohlfeld's words give the sense of a poet whose mind has been suddenly freed and is active in a new way. My impression of her is as a spirit-woman, a female shaman or Eve who takes power over the natural world by naming it, using the same words that have always served but with her own truly imaginative angle of vision."

Winner of the 1996 Yale Series of Younger Poets competition  Talvikki Ansel’s My Shining Archipelago gives us a front-row seat in a true Amazon theater where, says poet and contest judge James Dickey in his foreword, “Ansel finds her way of bringing into language the hellish magnificence, the perverse pluralism—more, always more, in the Amazon basin.” This cycle of “freewheeling sonnets” (Part II of the book) is cradled between sections of ambitious lyrics that recall Dutch still lifes in their intense scrutiny of pears, eels, gutted birds, to get at their essence. The book closes with a second sonnet cycle that inverts the subject of the first: instead of European civilization (the opera house Teatro Amazonas) coming to the jungle, an untutored human who is just learning to name things—Shakespeare’s Caliban—is dropped in the middle of Elizabethan London.  Flemish Beauty  Yesterday, all winter,I had not thought of pears, considered:pear. The tear-shaped, papery core,precise seeds. This one channeledthrough with worm tunnels.Bruises, a rotten half—sometimes there’s nothing leftto drop into the pot.That phraseI could have said: “you stillhave us . . . ”The knifeslides easily beneath the skins,top to base, spiralingthem away.The insubstantial us.It could as well be the peartalking to the river, turning tothe grass (“you still have us”).Besides, it’s just me a pear in my hand (the slop bucket fullof peels)—and sometimes, yes, thatseems enough: a pear—  this larger one,yellow-green, turning to red:“Duchess” maybe, “Devoe,”or what I want to call it: “FlemishBeauty.”When I can’t sleep,I’ll hold my hand as if I helda pear, my fingers mimickingthe curve. The same curveas the newel postI’ve used for years, swingingmyself up to the landing, alwaysthrowing my weight back. And alwaysnails loosening, mid-bound.

In 1919 Yale University Press inaugurated the Yale Series of Younger Poets, designed to "afford a public medium for the work of young men and women who have not yet secured a wide public recognition." This anthology of the longest-running poetry series in the United States tells the story of American poetry in this century. At first a forum for a conservative taste in parochial college verse, the Younger Poets Series soon opened up to unconventional but profound young talents from across the country—such as James Agee, Muriel Rukeyser, Margaret Walker, William Meredith, Adrienne Rich, John Ashbery, John Hollander, James Tate, Carolyn Forché, and Robert Hass. This anthology includes poems from the first book by each of the 92 winners of the annual Younger Poets contest.The selections are accompanied by an introduction by George Bradley, the 1986 winner of the contest. Bradley charts the course of the series under the aegis of such contest judges as Stephen Vincent Benét, W. H. Auden, and James Merrill, lacing his narrative with anecdotes about the judges and winners. He also establishes the series’ vital role in the development of American poetry and American publishing. The anthology is divided into two sections: "The Early Years," which briefly presents the first 31 winners of the contest, and "The Modern Series," which gives ample room to display the early work of some of America's finest poets. All poets are introduced by a biographical headnote, and in the second section Bradley has added a brief commentary directing the reader to the salient features of each poet's work.

This year’s winner of the 1998 Yale Series of Younger Poets competition is Craig Arnold’s Shells, which was acclaimed as “a gifted collection of daring writing” by the contest judge, the distinguished poet W. S. Merwin. The book is an intriguing set of variations on the theme of identity. Arnold plays on the idea of the shell as both the dazzling surface of the self and a hard case that protects the self against the assaults of the world. His poems narrate amatory and culinary misadventures. “Friendships based on food,” Arnold writes, “are rarely stable”—this book is full of wildly unstable and bewitching friendships and other significant relations.

2000 National Book Critics Circle Award Finalist for Poetry  This year’s winner of the Yale Series of Younger Poets competition is Davis McCombs’s Ultima Thule, which was acclaimed as “a book of exploration, of searching regard . . . a grave, attentive holding of a light” by the contest judge, the distinguished poet W. S. Merwin. The poems are set above and below the Cave Country of south central Kentucky, where McCombs lives and which is home to thousands of caves. The book is framed by two sonnet sequences, the first about a slave guide and explorer at Mammoth Cave in the mid-1800s and the second about McCombs’s experiences as a guide and park ranger there in the 1990s. Other poems deal with Mammoth Cave’s four-thousand-year human history and the thrills of crawling into tight, rarely visited passageways to see what lies beyond. Often the poems search for oblique angles into personal experience, and the caves and the landscape they create form a personal geology.

The 96th winner of the Yale Series of Younger Poets prize  This year’s winner of the Yale Series of Younger Poets competition is Sean Singer’s Discography. Playful, experimental, jazz-influenced, the poems in this book delight in sound and approach the more abstract pleasures of music. Singer takes as his subjects music, jazz figures, and historical events. Series judge W. S. Merwin praises Singer for his “roving demands on his language” and the “quick-changes of his invention in search of some provisional rightness.”

The 97th winner of the Yale Younger Poets prize  This year’s winner of the Yale Series of Younger Poets competition is Loren Goodman’s Famous Americans. Hilarious, eclectic, and bizarre, this collection takes the reader on a roller coaster of a ride through the absurdities of American pop culture. Employing a variety of forms (from epistolary to script to interview and beyond), this work proves to be as much about exploring frameworks as it is about examining the lives of famous and not-so-famous Americans. Goodman questions our concept of what it means to be an icon: he disrupts our assumptions, creating an alternate universe in which nothing remains sacred.

Announcing the 2003 recipient of the oldest annual literary prize in North AmericaThe winner of the 2003 Yale Series of Younger Poets competition is Peter Streckfus’s The Cuckoo, chosen by competition judge and Poet Laureate Louise Glück. It is Glück’s first selection as judge. In this unforgettable, daring first collection, Peter Streckfus offers the reader poems of deep originality and astonishing power. Taking his inspiration from both American and Chinese culture, Streckfus seems an impossible combination of John Ashbery and Ezra Pound. In her Foreword, Glück praises Streckfus’s art for its “nonsense and mystery,” its “mesmerizing beauty” and “luminous high-mindedness.”

Announcing the 2005 recipient of the prestigious Yale Younger Poets prize  Jay Hopler’s Green Squall is the winner of the 2005 Yale Series of Younger Poets competition. As Louise Glück observes in her foreword, “Green Squall begins and ends in the garden”; however, Hopler’s gardens are not of the seasonal variety evoked by poets of the English lyric—his gardens flourish at lower, fiercer latitudes and in altogether different mindscapes. There is a darkness in Hopler’s work as deep and brutal as any in American poetry. Though his verbal extravagance and formal invention bring to mind Wallace Stevens’s tropical extrapolations, there lies beneath Green Squall’s lush tropical surfaces a terrifying world in which nightmare and celebration are indistinguishable, and hope is synonymous with despair.

Announcing the 2006 recipient of the prestigious Yale Younger Poets prizeJessica Fisher’s Frail-Craft is winner of the 2006 Yale Series of Younger Poets competition and judge Louise Glück’s fourth selection for the series. The book and the dream are the poet’s primary objects of investigation here. Through deft, quietly authoritative lyrics, Fisher meditates on the problems and possibilities—the frail craft—of perception for the reader, the dreamer, maintaining that “if the eye can love—and it can, it does—then I held you and was held.” In her foreword to the book, Louise Glück writes that Fisher’s poetry is “haunting, elusive, luminous, its greatest mystery how plain-spoken it is. Sensory impressions, which usually serve as emblems of or connections to emotion, seem suddenly in this work a language of mind, their function neither metonymic nor dramatic. They are like the dye with which a scientist injects his specimen, to track some response or behavior. Fisher uses the sense this way, to observe how being is converted into thinking.”

Ken Chen is the 2009 winner of the annual Yale Younger Poets competition. These poems of maturation chronicle the poet’s relationship with his immigrant family and his unknowing attempt to recapture the unity of youth through comically doomed love affairs that evaporate before they start. Hungrily eclectic, the wry and emotionally piercing poems in this collection steal the forms of the shooting script, blues song, novel, memoir, essay, logical disputation, aphorism—even classical Chinese poetry in translation. But as contest judge Louise Glück notes in her foreword, “The miracle of this book is the degree to which Ken Chen manages to be both exhilaratingly modern (anti-catharsis, anti-epiphany) while at the same time never losing his attachment to voice, and the implicit claims of voice: these are poems of intense feeling. . . . Like only the best poets, Ken Chen makes with his voice a new category.”

Will Schutt is the 2012 winner of the Yale Series of Younger Poets Competition  A young soldier dons Napoleon’s hat. An out-of-work man wanders Berlin, dreaming he is Peter the Great. The famous exile Dante finally returns to his native city to “hang his crown of laurels up.” Familial and historical apparitions haunt this dazzling collection of poems by Will Schutt, the 2012 recipient of the prestigious Yale Series of Younger Poets award.  Coupled with Schutt’s own voice are the voices of some of Italy’s most prominent nineteenth- and twentieth-century poets including Giacomo Leopardi, Alda Merini, Eugenio Montale, and Edoardo Sanguineti. Subtle, discerning, restrained, the poems in Westerly probe a vast emotional geography, with its contingent pleasures and pains, “where the door’s always dark, the sky still blue.”                                  . . . some narrow sickness buried you.Whatever boyhood I hadfate hijacked too.  Old friend, is this thatworld we stayed awake all night for?Truth dropped in.  Far off,your cool hand points the way.

Winner of the 2013 Yale Series of Younger Poets prize  Eryn Green’s Eruv is the latest winner of the oldest annual literary award in the United States, which originated in 1919 to showcase the works of exceptional American poets under the age of forty. Green joins an esteemed roster of past winners that includes Adrienne Rich, John Ashbery, W. S. Merwin, and Robert Hass, and as Carl Phillips, competition judge and chancellor of the American Academy of Poets, points out, this collection “reminds us how essential wilderness is to poetry—a wilderness in terms of how form and language both reinvent and get reinvented.”  Taking its title from the Hebrew word for a ritual enclosure that opens from private into public spaces, Eruv includes poems of love, sadness, and pathos while celebrating the power of ritual and untamed landscapes. Just as a larger home can be fashioned out of communally shared alleyways and courtyards, with passages enabling movement from one world to another, Green’s poems provide a similar doorway into a deeper understanding of ourselves.

Winner of the 2014 Yale Series of Younger Poets prize  Originated in 1919 to showcase the works of exceptional American poets under the age of forty, the Yale Series of Younger Poets prize is the oldest annual literary award presented in the United States. Ansel Elkins’s poetry collection, Blue Yodel, is the 109th volume to be so honored. Esteemed poet and competition judge Carl Phillips praises Elkins for her “arresting use of persona,” calling her poems “razor-edged in their intelligence, Southern Gothic in their sensibility.”  In her imaginative and haunting debut collection, Elkins introduces readers to a multitude of characters whose “otherness” has condemned them to live on the margins of society. She weaves blues, ballads, folklore, and storytelling into an intricate tapestry that depicts the violence, poverty, and loneliness of the Deep South, as well as the compassion, generosity, and hope that brings light to people in their darkest times. The blue yodel heard throughout this diverse compilation is a raw, primal, deeply felt expression of the human experience, calling on us to reach out to the isolated and disenfranchised and to find the humanity in every person.

Duy Doan’s striking debut reveals the wide resonance of the collection’s unassuming title, in poems that explore—now with abundant humor, now with a deeply felt reserve—the ambiguities and tensions that mark our effort to know our histories, our loved ones, and ourselves. These are poems that draw from Doan’s experience as a Vietnamese-American while at the same time making a case for—and masterfully playing with—the fluidity of identity, history, and language. Nothing is alien to these poems: the Saigon of a mother’s dirge, the footballer Zinedine Zidane, an owl that “talks to his other self in the well”—all have a place in Doan’s far-reaching and intimately human art.

Comprised of ironic, unsentimental poems on subjects of everyday life, Poems is the 57th volume of the Yale Series of Younger Poets.  The first of seven books of poetry published during Dugan’s lifetime, Poems examines the unusual details of everyday subjects, including waterfalls, house plants, love, war, religion, and the Irish. Explorations inevitably arouse feelings of alienation, defeat, despair, and disenchantment. The poems are also marked by casual humor, mockery, and satire, which produce some of its strongest effects. The tone and style on display in this first book characterize all of Dugan’s subsequent poetry.

A capsule of the imaginative life of the individual, Some Trees is the 52nd volume of the Yale Series of Younger Poets  Comparing him to T. S. Eliot, Stephanie Burt writes that Ashbery is “the last figure whom half of the English-language poets alive thought a great model, and the other half thought incomprehensible.” After the publication of Some Trees, selecting judge W. H. Auden famously confessed that he didn’t understand a word of it. Most reviews were negative. But in this first book of poems from one of the century’s most important poets, one finds the seeds of Ashbery’s oeuvre, including the influence of French surrealists—many of whom he translated—and abstract expressionism.

Finalist for the 2021 National Book Award for Poetry, this Yale Series of Younger Poets volume is a lyrical and polyvocal exploration of what it means to fight for yourself  “Bailey invites us to see what twenty-first-century life is like for a young woman of the Black diaspora in the long wake of a history of slavery, brutality, and struggling for freedoms bodily and psychological.”—Carl Phillips, from the Foreword  “Desiree C. Bailey sings true in her debut. Wherever this voice goes a Caribbean sun travels with it transfiguring what a maroon might overhear—a call awaiting response.”—Yusef Komunyakaa  The 115th volume of the Yale Series of Younger Poets, What Noise Against the Cane is a lyric quest for belonging and freedom, weaving political resistance, Caribbean folklore, immigration, and the realities of Black life in America. Desiree C. Bailey begins by reworking the epic in an oceanic narrative of bondage and liberation in the midst of the Haitian Revolution. The poems move into the contemporary Black diaspora, probing the mythologies of home, belief, nation, and womanhood. Series judge Carl Phillips observes that Bailey’s “poems argue for hope and faith equally. . . . These are powerful poems, indeed, and they make a persuasive argument for the transformative powers of steady defiance.”

The 117th volume of the Yale Series of Younger Poets, in which Mary-Alice Daniel confronts tricontinental culture shock and her curious placement within many worlds  “Against humans creating hell on earth, Daniel draws on animistic, Islamic, and syncretic Christian traditions from her native Nigeria to unleash potent incantations, rituals and spells, electric as St. Elmo’s fire. Buckle up.”—Rae Armantrout, judge  In Mass for Shut-Ins, African and Western mythic systems and modern rituals originate an ill-omened universe. Here, it is always night, grim night, under absurd moons. Venturing through dreamscapes, hellscapes, and lurid landscapes, poems map speculative fields of spiritual warfare. This collection is controlled chaos powered by nightmare fuel. It animates an utterly odd organism: a cosmology cobbled with scripture, superstition, mass media, mad science. Horrid, holy, unholy—these pages overrun with the unhinged, intrusive thoughts that obsess us all late into nighttime.

The 117th volume of the Yale Series of Younger Poets, in which Mary-Alice Daniel confronts tricontinental culture shock and her curious placement within many worlds  “Against humans creating hell on earth, Daniel draws on animistic, Islamic, and syncretic Christian traditions from her native Nigeria to unleash potent incantations, rituals and spells, electric as St. Elmo’s fire. Buckle up.”—Rae Armantrout, judge  In Mass for Shut-Ins, African and Western mythic systems and modern rituals originate an ill-omened universe. Here, it is always night, grim night, under absurd moons. Venturing through dreamscapes, hellscapes, and lurid landscapes, poems map speculative fields of spiritual warfare. This collection is controlled chaos powered by nightmare fuel. It animates an utterly odd organism: a cosmology cobbled with scripture, superstition, mass media, mad science. Horrid, holy, unholy—these pages overrun with the unhinged, intrusive thoughts that obsess us all late into nighttime.