Collected Poems Of Jack Gilbert

Gathered in this volume readers will find more than fifty years of poems by the incomparable Jack Gilbert, from his Yale Younger Poets prize-winning volume to glorious late poems, including a section of previously uncollected work. There is no one quite like Jack Gilbert in postwar American poetry. After garnering early acclaim with Views of Jeopardy (1962), he escaped to Europe and lived apart from the literary establishment, honing his uniquely fierce, declarative style, with its surprising abundance of feeling. He reappeared in our midst with Monolithos (1982) and then went underground again until The Great Fires (1994), which was eventually followed by Refusing Heaven (2005), a prizewinning volume of surpassing joy and sorrow, and the elegiac The Dance Most of All (2009). Whether his subject is his boyhood in working-class Pittsburgh, the women he has loved throughout his life, or the bittersweet losses we all face, Gilbert is by turns subtle and majestic: he steals up on the odd moment of grace; he rises to crescendos of emotion. At every turn, he illuminates the basic joys of everyday experience. Now, for the first time, we have all of Jack Gilbert’s work in one essential volume: testament to a stunning career and to his place at the forefront of poetic achievement in our time.

More than a decade after Jack Gilbert’s The Great Fires, this highly anticipated new collection shows the continued development of a poet who has remained fierce in his avoidance of the beaten path. In Refusing Heaven, Gilbert writes compellingly about the commingled passion, loneliness, and sometimes surprising happiness of a life spent in luminous understanding of his own blessings and shortcomings: “The days and nights wasted . . . Long hot afternoons / watching ants while the cicadas railed / in the Chinese elm about the brevity of life.” Time slows down in these poems, as Gilbert creates an aura of curiosity and wonder at the fact of existence itself. Despite powerful intermittent griefs–over the women he has parted from or the one lost to cancer (an experience he captures with intimate precision)–Gilbert’s choice in this volume is to “refuse heaven.” He prefers this life, with its struggle and alienation and delight, to any paradise. His work is both a rebellious assertion of the call to clarity and a profound affirmation of the world in all its aspects. It braces the reader in its humanity and heart.

JOYCE'S MOTTO has had much fame but few apostles. Among them, there has been Jack Gilbert and his orthodoxy, a strictness that has required of this poet, now in the seventh decade of his severe life, the penalty of his having had almost no fame at all. In an era that puts before the artist so many sleek and official temptations, keeping unflinchingly to a code of "silence, exile, and cunning" could not have been managed without a show of strictness well beyond the reach of the theater of the coy. The "far, stubborn, disastrous" course of Jack Gilbert's resolute journey--not one that would promise in time to bring him home to the consolations of Penelope and the comforts of Ithaca but one that would instead take him ever outward to the impossible blankness of the desert--could never have been achieved in the society of others. What has kept this great poet brave has been the difficult company of his poems--and now we have, in Gilbert's third and most silent book, what may be, what must be, the bravest of these imperial accomplishments.

A remarkable late-in-life collection, elegiac and bracing, from master poet Jack Gilbert, whose Refusing Heaven captivated the poetry world and won the National Book Critics Circle Award as well as the Los Angeles Times Book Prize. In these characteristically bold and nuanced poems, Gilbert looks back at the passions of a life—the women, and his memories of all the stages of love; the places (Paris, Greece, Pittsburgh); the mysterious and lonely offices of poetry itself. We get illuminating glimpses of the poet’s background and childhood, in poems like “Going Home” (his mother the daughter of sharecroppers, his father the black sheep in a family of rich Virginia merchants) and “Summer at Blue Creek, North Carolina,” a classic scene of pulling water from the well, sounding the depths. The title of the collection is drawn from the startling “Ovid in Tears,” in which the poet figure has fallen and is carried out, muttering faintly: “White stone in the white sunlight . . . Both the melody / and the symphony. The imperfect dancing / in the beautiful dance. The dance most of all.” Gilbert reminds us that there is beauty to be celebrated in the imperfect—“a worth / to the unshapely our sweet mind founders on”—and at the same time there is “the harrowing by mortality.” Yet, without fail, he embraces the state of grief and loss as part of the dance. The culmination of a career spanning more than half a century of American poetry, The Dance Most of All is a book to celebrate and to read again and again.

"More than fifty years of poems by the incomparable Jack Gilbert are gathered in this volume, from his Yale Younger Poets prizewinning volume to his glorious late poems, including a section of previously uncollected work."--Jacket.

A collection that illuminates everyday experience, Views of Jeopardy is the 58th volume of the Yale Series of Younger Poets.

A pivotal book of personal, ecological, and political reckoning tuned toward issues of consequence to all who share this world's current and future fate—"Some of the most important poetry in the world today" (Naomi Shihab Nye, The New York Times Magazine). Ledger's pages hold the most important work yet by Jane Hirshfield, one of our most celebrated contemporary poets. From the already much-quoted opening lines of despair and defiance ("Let them not say: we did not see it. / We saw"), Hirshfield's poems inscribe a registry, both personal and communal, of our present-day predicaments. They call us to deepened dimensions of thought, feeling, and action. They summon our responsibility to sustain one another and the earth while pondering, acutely and tenderly, the crises of refugees, justice, and climate. They consider "the minimum mass for a whale, for a language, an ice cap," recognize the intimacies of connection, and meditate upon doubt and contentment, a library book with previously dog-eared corners, the hunger for surprise, and the debt we owe this world's continuing beauty. Hirshfield's signature alloy of fact and imagination, clarity and mystery, inquiry, observation, and embodied emotion has created a book of indispensable poems by a "modern master" (The Washington Post).