Cahiers de Corey

Saturday, October 02, 2004

The New York Times has made one of its periodic discoveries of the Web—in this case, the literary Web—with this snarky article from David Orr; I especially like this line re Poetry Daily, "Yes, there are a lot of poets, and yes, they write a lot of poems." To which this reader can only respond: Duh? I'm fascinated by the oft-expressed desire (oft-expressed by poets themselves) for poets to write less. Are these people truly overwhelmed by all the good poetry out there and feel guilty for not being able to read all it? Or does it frustrate their desire to master the corpus of contemporary writing? Or do they really just hate all poetry that isn't their own, or at least does not closely resemble their own? I'm betting on the latter.

And it looks like hatred and the ad hominem will continue to get attention from outside the poetry family while actual good writing and actual good people labor stoically on. I'm not going to repeat their names here, but if you read the article you'll notice more than a couple of betes noir given rather more attention than I think they deserve.

If I sound grumpy it's because it's my 34th birthday today. Which I'm actually pleased about, considering the alternative. (Rim shot!) Thirty-four sure sounds old to me, or rather it sounds old to the young me: when I was a teenager I thought of the mid-thirties as the peak of maturity, the high watermark (or is it high-water mark?) of adulthood. Well, I'm older than I've ever been, I'm certainly more mature than I've ever been—but "adulthood" itself looks now to be like one of those persistent myths, a state of being that is never really more than a state of becoming. At least I'm pretty sure I can no longer be accused of writing juvenalia. This must be the early stages of what I hope will be a long and productive middle period.

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)

“Joshua Corey has reinvented the good old-fashioned American avant-garde epic poem (Whitman, Stein, Crane, O’Hara) and thrust it, kicking if not screaming, into the early 21st century, ‘rescued / by what survives the will to survive.’ The result is thrilling, and unlike any poetry I know.”

—John Ashbery

"Joshua Corey’s The Barons is a sprawling collection of poems intent on toeing the line between the profound and the glib, brainy deconstruction and guttural implosion. These poems are like toys cranked up to the point of breaking or like hurricanes whipped into speed and spinning furiously in place."

—Joe Hall, Colorado Review

Available from Omnidawn Publishing and wherever books are sold.

Beautiful Soul: An American Elegy is a darkly glamorous existential noir in the late modernist tradition of José Saramago, W.G. Sebald, Italo Calvino, and Roberto Bolaño. Written in gorgeous and elliptical prose, this electric first novel is a love story, a ghost story, and a psychological thriller about the enigma of American innocence, the fatality of storytelling, and the precarious destiny of reading itself.

"Corey’s prose registers the sensations, perceptions, and experiences of the novel’s characters — primarily the protagonist — in truly the only way such characters actually come to life: they live in language, and to that end the writing in Beautiful Soul, in its scrupulous attention to phrase and image in almost every sentence, could be called an attempt to bring the characters and their milieu to life through the vigor of the words on the page."

--Daniel Green, Full Stop

"We hold a letter, its creases worn nearly through from years of opening and folding shut again. Yet each reading is a revelation, a shock, a mystery, a challenge. Corey gives this a new jolt, a new charge, in this rich and intensely self-reflective novel."

--Spencer Dew, decomP

Available from Amazon in print or Kindle editions, from Small Press Distribution, and from the publisher, Spuyten Duyvil Press.

One of the Academy of American Poets' Notable Books for 2011.

"Joshua Corey's book of sonnets is formally playful and emotionally raw, with an intensity of expression that is at times harrowing. . . . [A]n extraordinary volume." —Paul Hoover

"These songs shuttle between a past and a future, cast adrift or severed from a violent, ashen present into a necessary untimeliness. . . . What then of the sonnet, repository of desire and enemy of time? It is, as ever, that form by which we re-imagine subjectivity to confront altered circumstances, and to assess 'the shipwreck of the singular' in the maelstrom of the many. . . ." —Michael Palmer

"In Severance Songs, Joshua Corey tends to the always-mysterious border that connects the interior and the exterior. Is one inside the tale if one alludes to it? Is the eye tethered as witness to what it sees? And who can avoid singing these 'culpability cantos'? Yet if the lush Eden of intimacy foresees our later expulsion, this poet shows us how to stand at the garden's threshold where 'reaching builds on reaching.' Corey risks the possible emptiness inherent in rupture to seek out the ways we are 'knotted to one another's possibilities.' The architecture of the poem, he reveals, is replete with doors and windows and it is for us to discover whether we are looking in or looking out." —Elizabeth Robinson

Now available from Small Press Distribution, Amazon, or your local bookstore.

Read reviews at Publishers Weekly, Wave Composition, The Critical Flame, TrainBust, Poetry Northwest, and in Spoon River Poetry Review.

Goodreads

Joshua's bookshelf: currently-reading

Swann's Way

by Marcel Proust

Slowly, slowly sinking into the astonishingly sensual memory-world of Proust. At forty, I think I'm finally old enough to appreciate it. Reading the Moncrief but I'd like to check out the Lydia Davis translation as well.

tagged: currently-reading