By Carol Snow
Carol Snow's award-winning poetry has been renowned and celebrated as "work of adverse beauty" (Robert Hass), "ever stressed, ever re-framing the body of reference" (Boston Review), educating us "how brutally self-transforming a verbal motion may be while undertaken in reliable faith" (Jorie Graham). during this, her 3rd quantity, Snow keeps to mine the language to its such a lot mysterious depths and to discover the chances its meanings and mechanics carry for definition, transformation, and emotional fact. those poems position us sooner than, and in, language--as we stand sooner than, and in, the realm.
The Seventy Prepositions contains 3 suites of poems. the 1st, "Vocabulary Sentences," displays on phrases and fact via taking as a proper motif this type of sentences used to check vocabulary abilities in straightforward college. The poems of the second one suite, "Vantage," assemble loosely round questions of standpoint and conception. The final suite reveals its notion within the eastern dry-landscape gardens referred to as karesansui, comparable to the recognized rock backyard at Ryoan-ji Temple in Kyoto. the following the poet ways composition as one faces a "miniature Zen garden," determining and positioning phrases instead of stones, officially, accurately, evocatively.
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Additional info for The Seventy Prepositions (New California Poetry, Volume 10)
31 Standing by my bed In gold sandals Dawn that very moment awoke me ——SAPPHO I. — “ PURELY VISUAL”/LEUR RÔLE EST DONC PUREMENT SPECTACUL AIRE. MATISSE, JAZZ OR SHE FELL VERY SLOWLY TAKE: DRIVING through a pattern of girders and shadows 33 II. ” 34 GALLERY MATISSE, THE PIANO LESSON —“architectonic”: I read that—the shadowed stage left of his son’s face, a précis inverting the shaft of green (sunlight through a window) repeating the pyramid metronome. He’s not as young as he looks, the lad. Tick, tock.
Handle—as object; role of the; its shadow. [hand : envelope : letter : hand] 44 Action, once removed? ) Then again, mine . . Her gift—“in return”—from the ﬁrst decade of our thirty-four-year correspondence, a selection of my letters now ‘returned to sender’ carefully mounted in a cord-tied, brocade-covered album, each in its opened, original envelope. - to 15-cent) stamps. Re-read with—Vermeer, maybe Hopper? Richter—fascinated apprehension, proceeding from (as Preface) a few notes from high school “still” folded for passing and set—like the envelopes—in photo corners: to unseat, unfold, hold one for reading.
Has painted the woman gazing, and background, her entire surroundings . . (save himself and that [unsaved] half)—a thought. ) 37 KOI (I) was doing my best to see them, what with the reﬂection 38 KOAN “Everyone knows the sound of two hands clapping. ” COINED ‘Violinisting’: coined. Then I leant on it. The practice of askew until skewed feels like comfort (“a learned thing”). Restful? Zzzz—then I slept on it—sawed, a swaying (pitched), tuning fork, metronome . . 39 awoke in the dark. Certainly electronic; I tried to listen in triplets or randomness—tick, tock—the lyric, based on a pendulum.