"Let us posit that the fate of poetry is the fate of the world, such that when the poet contemplates his mortality this actuality is conjoined to an unknown future of world that is yet not a mere abstraction or mystery. Chamber Music is thus marked by the poet's quest under the aegis of desire and poetic knowledge conjoined to the politics of time and knowledge under global capitalism; in which, for instance, 'the reader, ' in copious debt for their education turns the leaves of a book of poems with frozen fingers. Pearson's tragic-lyric-comic, ever-inventive poem series begins with a simple epigraph by composer Alban Berg, 'Music is at once the product of feeling and knowledge.' Feeling and knowledge in Pearson's oeuvre arrive in exquisite feats of transposition including of idea and execution in music to poetry and back again. Consider this brilliant fusion wherein the intimacy of chamber music is drawn into the relationality of jazz: 'The tenor preached to the converts, /a mix of joy and pain. The drums/were as crisp as the tip of a whip/while the bassist walked the refrain. Then, the piano, soft and low, /showed us another way to go.'" -Carla Harryman
"The poem as incremental paradise. Precisely what we find here in the six chambers of this music - the human writing, singing in the discrepancy between language and the world. A discrepancy erased in the power of the poem, its song and rhythm, silences punctuating sound, lifting the lids of the coffins in which we, Mallarmé's dying poets, live. Traces of Guido and Catullus, instances of the dead, come, at the behest of one dead fly, to give anima to us who, but for poetry, would only die. While, in that, mystifications are rigorously deflated on every page, a skepticism that, however, does not deny techné, whether science or form. For what is certainty but avowal of finely-wrought form? So let it be avowed: there are many finely-wrought forms here, in this chamber music. Listen and know: poetry is alive and doing what it does well." -Larry Price
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Ted Pearson grew up on the San Francisco Peninsula. After early musical training, he began writing poetry in 1964. He subsequently attended Vandercook College of Music, Foothill College, and San Francisco State University. In 1976, he published his first book, The Grit, and began his ongoing association with the San Francisco Language Poets. Recent books include Durations (2022), Overtures (2023), and Early Autumn (2024). Chamber Music is his thirtieth book of poetry. He lives in Northampton, Massachusetts, with his wife, Sheila Lloyd, and their dog, Kofi.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Paperback. Etat : New. "Let us posit that the fate of poetry is the fate of the world, such that when the poet contemplates his mortality this actuality is conjoined to an unknown future of world that is yet not a mere abstraction or mystery. Chamber Music is thus marked by the poet's quest under the aegis of desire and poetic knowledge conjoined to the politics of time and knowledge under global capitalism; in which, for instance, 'the reader,' in copious debt for their education turns the leaves of a book of poems with frozen fingers. Pearson's tragic-lyric-comic, ever-inventive poem series begins with a simple epigraph by composer Alban Berg, 'Music is at once the product of feeling and knowledge.' Feeling and knowledge in Pearson's oeuvre arrive in exquisite feats of transposition including of idea and execution in music to poetry and back again. Consider this brilliant fusion wherein the intimacy of chamber music is drawn into the relationality of jazz: 'The tenor preached to the converts,/a mix of joy and pain. The drums/were as crisp as the tip of a whip/while the bassist walked the refrain. Then, the piano, soft and low, /showed us another way to go.'" -Carla Harryman"The poem as incremental paradise. Precisely what we find here in the six chambers of this music - the human writing, singing in the discrepancy between language and the world. A discrepancy erased in the power of the poem, its song and rhythm, silences punctuating sound, lifting the lids of the coffins in which we, Mallarme's dying poets, live. Traces of Guido and Catullus, instances of the dead, come, at the behest of one dead fly, to give anima to us who, but for poetry, would only die. While, in that, mystifications are rigorously deflated on every page, a skepticism that, however, does not deny techne, whether science or form. For what is certainty but avowal of finely-wrought form? So let it be avowed: there are many finely-wrought forms here, in this chamber music. Listen and know: poetry is alive and doing what it does well." -Larry Price. N° de réf. du vendeur LU-9781848619265
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Paperback. Etat : new. Paperback. "Let us posit that the fate of poetry is the fate of the world, such that when the poet contemplates his mortality this actuality is conjoined to an unknown future of world that is yet not a mere abstraction or mystery. Chamber Music is thus marked by the poet's quest under the aegis of desire and poetic knowledge conjoined to the politics of time and knowledge under global capitalism; in which, for instance, 'the reader,' in copious debt for their education turns the leaves of a book of poems with frozen fingers. Pearson's tragic-lyric-comic, ever-inventive poem series begins with a simple epigraph by composer Alban Berg, 'Music is at once the product of feeling and knowledge.' Feeling and knowledge in Pearson's oeuvre arrive in exquisite feats of transposition including of idea and execution in music to poetry and back again. Consider this brilliant fusion wherein the intimacy of chamber music is drawn into the relationality of jazz: 'The tenor preached to the converts,/a mix of joy and pain. The drums/were as crisp as the tip of a whip/while the bassist walked the refrain. Then, the piano, soft and low, /showed us another way to go.'" -Carla Harryman"The poem as incremental paradise. Precisely what we find here in the six chambers of this music - the human writing, singing in the discrepancy between language and the world. A discrepancy erased in the power of the poem, its song and rhythm, silences punctuating sound, lifting the lids of the coffins in which we, Mallarme's dying poets, live. Traces of Guido and Catullus, instances of the dead, come, at the behest of one dead fly, to give anima to us who, but for poetry, would only die. While, in that, mystifications are rigorously deflated on every page, a skepticism that, however, does not deny techne, whether science or form. For what is certainty but avowal of finely-wrought form? So let it be avowed: there are many finely-wrought forms here, in this chamber music. Listen and know: poetry is alive and doing what it does well." -Larry Price The poem as incremental paradise. Mystifications are deflated on every page: what is certainty but avowal of finely-wrought form? There are many finely-wrought forms here: poetry is alive and doing what it does well. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781848619265
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