Stag's Leap is a book of poetry written by Sharon Olds and published in 2012. But I felt the Sharon Olds' pain and grief. That can be a time of extremes and unexpected emotions, it’s different for everyone but yet the same too, and Olds captures all of that perfectly. Get enough sleep. [5], Tess Taylor, reviewing the book for NPR's All Things Considered, praises the "furious detail" of the very personal account, and wrote she was "haunted" by "the way it captures the strangeness of enduring loss over time — the way it makes a sort of prolonged sculpture out of the oddness of parting....Olds tallies the scale of this human mystery in household objects, hips and shoulders, the forms of a common life. These poems relate to the dissolution of her 30-year marriage when he husband leaves her for another woman. The Goldwater Writing Project was founded in 1986 by Jean Kennedy Smith, Rose Styron, and Sharon Olds. Well I’ve given the same bit of advice for about twenty years, which is: Take your vitamins!

to statues that wept. It can be general or specific, theoretical or practical. So I think what I meant when I made that vow—I think I was really talking to my own ego. Her first book of poems, Satan Says, was all raw talent. In a poem of yours would you, as it were, make a yellow jacket blue? Polk. I’m free verse and I’m going over the end-stopped line!” So there’s a kind of play between the integrity of the line and the enjambment. So my mind plays with that image of a tree to try to describe something about my feeling about the life of a poem. this isn’t in any real sense, or any mystical sense, or any literal sense, but there’s some way in which it’s as if there’s something, unseen, on the left-hand side of the left-hand margin. Graceful and powerful. That she often writes erotically also adds to my enthusiasm. I was twenty years old in 1962. “ The particular Victims, ” by Sharon Olds, demonstrates the distinctions of tears, anger, plus other emotions. by Knopf. SHARON OLDS: Would you do that, Mary? That was very interesting to me; and off-rhyme and enjambment and end-stops and rhythm and all of that was very interesting to me, in every- body’s poems.

About Sharon. But I knew I was fortunate to have, as you say, a platform. [6], In awarding the 2012 T. S. Eliot Prize, Carol Ann Duffy, British Poet Laureate from 2009 to 2019, noted the judges' decision was unanimous, and that the collection was "tremendous book of grace and gallantry, which crowns the career of a world-class poet". The volume focuses on her divorce and the feelings surrounding it. My middling rating is for the collection as a whole, while individual poems I would rank more highly if I could. It was a good image for being furious. These poems were affecting all right, but they also weren't fair. I had the pleasure to interview the acclaimed poet Sharon Olds, whose latest book, Stag’s Leap, is forthcoming from Knopf in September 2012.Among her many published works, Ms. Olds is the author of Satan Says, The Dead and The Living, and The Father, the latter two of which were short-listed for the TS Eliot Prize.

you know, it’s like in class.

The writing is clean and crisp and the vocabulary and imagery are great, but most of the poems and the book as a whole seem to be "missing" in terms of emotion. So even though I might have thought it would be too old for them, I came to feel that there’s enough universality in the subject of the book. I wasn’t paranoid that there was danger to me, but it was not easy, at the same time, to publicly say “no” to a figure of power. So I knew I couldn’t go, and I knew I couldn’t just pretend she hadn’t asked me. She won the inaugural San Francisco Poetry Center Award for Satan Says, and the Lamont Poetry Prize and the National Book Critics’ Circle Award for The Dead and The Living. We’re now stepping over a line. Something that’s like the, I don’t know, the spirit-body of the poem, if the poem itself is the matter-body. That Ms. Olds needed the cathartic release of these poems after her husband left her is understandable, but to inflict them on the rest of us is frankly inexcusa. I don't like all of this, but I would go back to some of it.]. SHARON OLDS: We had a nice back and forth, and they just wanted to be sure that their brand was mentioned in the acknowledgements. I like to read from the Iliad and did so. That wasn’t really in the public discourse openly very much yet, but the way that people treat other people has always been a subject that has gripped me. I was not writing in quatrains with end-stopped, rhymed lines. We don’t want say to someone, “your sister in your poem.” No. I think one reason I like the poetry of Sharon Olds so much is that it's personal without being confessional. Here, in Stag's Leap, she continues all that.

So as a reformed liar, I think it’s especially important to me to try and get things right. at Stanford University and a Ph.D. at Columbia University. I would say that work like mine is very simplified compared to what many of the younger poets are doing now. And because of the way I’d been raised, it seemed sinful to speak up in one’s own voice, to make one’s own music, to speak from one’s own point of view. I come from a family that’s very highly normative in its values and outlook, and I’ve always felt like a kind of weird, artsy interloper in a way. An entire book of poems about a divorce after thirty years of marriage examines love and loss, age and youth, the body, what it is to be together and to be alone, and successfully capturing the most beautiful, subtle moments of realization.

They were looking into various projects having to do with sustainability, trying to answer the question, “Can our species survive?” It’s a very cool movie. SHARON OLDS: That was a big step for me. There is an R.S. She teaches creative writing at New York University. WASHINGTON SQUARE: That’s really interesting to me, because I’d heard you mention that the 4-beat and the hymn were a kind of backbone of the work, but I hadn’t realized that it was such a prominent feature. And I’m still not comfortable talking much about my actual family. Sharon Olds' career has been an amazing trajectory. He says Olds had promised their children she would not "publish anything for at least a decade".

[5], Stag's Leap also won the 2013 Pulitzer Prize for Poetry, as "a book of unflinching poems on the author's divorce that examine love, sorrow and the limits of self-knowledge". And also, writing a letter, I could talk to her as a librarian, as someone to whom reading and writing were very important, and who wanted children to have a better chance at things.

SHARON OLDS: I think that is what an artist does. Wherever I go . I think what you’re describing in your poem is what I hear and read about every artist, every poet I can think of. SHARON OLDS: Oh yes, although even in the city, what I tend to start from is the river, and the trees down in Riverside Park, and the sky and the birds. And that was fine. WASHINGTON SQUARE: That’s fascinating to me. Do you still feel this way, or has this changed at all? And I think, from my impressions over the years, I think I’m pretty odd, and it has to do with. So I think the image of Satan was a strong image that carried the shininess and the strength of that anger. SHARON OLDS: Well, I was aspiring upward to the bourgeoisie, to the normal! WASHINGTON SQUARE: Do you still think about that binary relationship between God and Satan? Then she fell into the uncovered memories of childhood abuse fad of the time. In one poem, she compared her parents' abuse of her to the Shah of Iran torturing political prisoners.

if I stay in a hotel, I say, “If you’d put me in a room where I’d be able to see a tree. I hope it’ll find its readers!

And that's what matters to me: that the poet was able to channel her emotions to me, the reader. SHARON OLDS: It was! There were a lot of elements of it were true, but a lot of the secondary story was compressed and embellished.

None of that here. A Sharon Olds poem lets you in on Sharon Olds in a way that makes you feel confided in, included. I was talking to someone, I think maybe out in Minnesota, and I was saying, for instance, if I was writing a poem and someone had been wearing a yellow jacket, I could not make that jacket blue in a poem.

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