
The End of Beauty
âOne follows these poems as one follows musicâŠ. A mesmerizing American voice.â âHelen Vendler, The New YorkerÂ
The stunning third book of poems from Pulitzer Prize-winning poet Jorie Graham
The End of Beauty is a remarkably striking, coherent collection that explores, in a language as precise and rich as any being written, the realm of belief and the methods by which we attempt to figure our world.
âBlakeâs dialectics of mental flight, Whitmanâs songs of the open road, Stevensâs âendlessly proliferating poem,â Eliotâs Quartets, Ashberyâs prose poems have all taken some of the same chances. Graham keeps creative energy alive and unpredictable in these poems by sudden changes of focus; her psychic elations and hesitations are Romantic in their volatility but post-Romantic in their skepticism, their self-interruptions, their own stage directions.â âThe New YorkerÂ
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The End of Beauty
âOne follows these poems as one follows musicâŠ. A mesmerizing American voice.â âHelen Vendler, The New YorkerÂ
The stunning third book of poems from Pulitzer Prize-winning poet Jorie Graham
The End of Beauty is a remarkably striking, coherent collection that explores, in a language as precise and rich as any being written, the realm of belief and the methods by which we attempt to figure our world.
âBlakeâs dialectics of mental flight, Whitmanâs songs of the open road, Stevensâs âendlessly proliferating poem,â Eliotâs Quartets, Ashberyâs prose poems have all taken some of the same chances. Graham keeps creative energy alive and unpredictable in these poems by sudden changes of focus; her psychic elations and hesitations are Romantic in their volatility but post-Romantic in their skepticism, their self-interruptions, their own stage directions.â âThe New YorkerÂ
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âOne follows these poems as one follows musicâŠ. A mesmerizing American voice.â âHelen Vendler, The New YorkerÂ
The stunning third book of poems from Pulitzer Prize-winning poet Jorie Graham
The End of Beauty is a remarkably striking, coherent collection that explores, in a language as precise and rich as any being written, the realm of belief and the methods by which we attempt to figure our world.
âBlakeâs dialectics of mental flight, Whitmanâs songs of the open road, Stevensâs âendlessly proliferating poem,â Eliotâs Quartets, Ashberyâs prose poems have all taken some of the same chances. Graham keeps creative energy alive and unpredictable in these poems by sudden changes of focus; her psychic elations and hesitations are Romantic in their volatility but post-Romantic in their skepticism, their self-interruptions, their own stage directions.â âThe New YorkerÂ