u m t . The command also may also address the reader. They repeat their disastrous Beckoning songs as if the earth Were rich and many warriors coming out of it, As if the calm was blue, one sky over A shore and the tide welcoming a fleet Bronzed and strong as breakers,   Their limbs in this light Fused of sand and wave are lifted once Then sunk under aquamarine, the phosphorous. This roof will hold me.

September 2012

May 2017

The red gaze could also be dawn, freed color with no origin, forever moving across the world, or the glow after the sun's fall, "the after-gaze behind an after-gaze, the final dab of light on a painting" (Fanny Howe on the back cover).

; Peter Gizzi, intro. Yesterday I took the autumn walk, known in May   as lovers' walk. The removal of the figure leaves the window clear for the gazer to see out of it, and the poem becomes a place where power is exerted in such a way that a space for observation or action—or simply rest—is cleared. The essay “Invisible Architecture” describes the relationship between poet and poem as a battle for domination in which the poet is opposed by an invisible force. The questions amass.

From the water A roar.

January 2015 The heroine Paint sobs    "No one who has ever loved me   can tell me why   there are two birds at my wrist   and only one flies. August 2011 0000002523 00000 n January 2007

%%EOF

September 2007 Ironically, it includes no verbs—no action at all—for most of the poem, and refuses the imperative voice—conventional “instruction” language—until the last line.

February 2014 By her own admission, she felt nostalgia for the period, though she said she didn't want to use it “as an escape.”1 The motif appears throughout her career: in late books such as Miniatures and especially Quill, Solitary Apparition, and earlier, as well; in her elegy for James Schuyler, for example, which repeatedly calls the subject of the poem “king.” What attracts me to the motif in The Red Gaze is its relationship with Guest's understanding of the poem as a “fictive place,” a place apart, a place of significant freedom.

February 2009 endobj

May 2007 . Good night I go to my bed. December 2006 Yesterday the yellow Tokening clouds. Paris. Part of that launch will feature a new series of recordings of Barbara Guest reading all the poems from her forthcoming Wesleyan University Press book The Red Gaze. An “emperor/described as a poor man in disguise . And later, "Reason selects our otherness."

The first line of the poem offers the simplest of announcements: “Mood and Form. 217 0 obj

Prepare for bulbs and minor grasses; seize on imported mauves, ivory cutlasses prepared in Switzerland for sailors whose white eyelashes will curtain the whim of captains and make graceful the long Cape trip. The imperialist poet who cannot or will not continue to enforce her creative empire can be aligned with the power-figures in Guest’s poems that give up power or permit liberty. March 2011 deeply transformative.

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