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Beschreibung
James Merrill's new collection, The Inner Room, combines symmetry with [...] first and last of its five parts include, in addition to diverse two masterly long poems each ('Morning Glory' and 'A Room at the Heart of Things' in Part I and 'Walks in Rome' and 'Losing the Marbles' in Part V). The central section, an arrangement of shorter poems and a bittersweet meditation written some years ago but not collected until now, is framed by the book's most startling accomplishments. In Part II Merrill returns to the verse drama, a genre that he has not worked in since the 1950s, when 'The Bait' was produced off-Broadway. 'The Image Maker' is an exquisitely fashioned one-act play about a santero, a saint-maker, whose carved figures are objects of veneration and sources of power in his Caribbean village. The santero also practices santeria, the Latin American religion that syncretizes the Yoruba lore which the slaves brought with them from West Africa and the Catholicism imposed on them in their new world. In this exotic context, Merrill rings changes on themes developed in his epic poem The Changing Light at Sandover. Part IV, a sequence entitled 'Prose of Departure, is itself another striking departure from Merrill's recent work. Set mostly in Japan, it intertwines narratives of beginnings and endings even as it intersperses its prose with hokku in a manner reminiscent of Basho's travel journals -- though the delicately managed rhymes set Merrill's cachet upon the form. Among the other work here are poems in Sapphics and in syllabics; a villanelle whose recursions celebrate memory', and a doubled anagram, in which the English poem is shadowed by a French version"

Stephen Yenser

author of The Consuming Myth, The Work of James Merrill
James Merrill's new collection, The Inner Room, combines symmetry with [...] first and last of its five parts include, in addition to diverse two masterly long poems each ('Morning Glory' and 'A Room at the Heart of Things' in Part I and 'Walks in Rome' and 'Losing the Marbles' in Part V). The central section, an arrangement of shorter poems and a bittersweet meditation written some years ago but not collected until now, is framed by the book's most startling accomplishments. In Part II Merrill returns to the verse drama, a genre that he has not worked in since the 1950s, when 'The Bait' was produced off-Broadway. 'The Image Maker' is an exquisitely fashioned one-act play about a santero, a saint-maker, whose carved figures are objects of veneration and sources of power in his Caribbean village. The santero also practices santeria, the Latin American religion that syncretizes the Yoruba lore which the slaves brought with them from West Africa and the Catholicism imposed on them in their new world. In this exotic context, Merrill rings changes on themes developed in his epic poem The Changing Light at Sandover. Part IV, a sequence entitled 'Prose of Departure, is itself another striking departure from Merrill's recent work. Set mostly in Japan, it intertwines narratives of beginnings and endings even as it intersperses its prose with hokku in a manner reminiscent of Basho's travel journals -- though the delicately managed rhymes set Merrill's cachet upon the form. Among the other work here are poems in Sapphics and in syllabics; a villanelle whose recursions celebrate memory', and a doubled anagram, in which the English poem is shadowed by a French version"

Stephen Yenser

author of The Consuming Myth, The Work of James Merrill
Über den Autor
James Merrill
Details
Erscheinungsjahr: 1988
Genre: Importe, Lyrik & Dramatik
Rubrik: Belletristik
Medium: Taschenbuch
ISBN-13: 9780679720492
ISBN-10: 0679720499
Sprache: Englisch
Einband: Kartoniert / Broschiert
Autor: Merrill, James
Hersteller: Knopf Doubleday Publishing Group
Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de
Maße: 235 x 146 x 7 mm
Von/Mit: James Merrill
Erscheinungsdatum: 26.10.1988
Gewicht: 0,195 kg
Artikel-ID: 131745069

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