Kirjahaku

Irresistible, wrote Nobel Laureate Derek Walcott when he selected Kathleen Ossip's The Search Engine for the Honickman Prize from more than 1000 manuscripts. You feel like quoting her, Walcott continued, because she is . . . so fresh and so open. Ossip's poetry is word-rich and music-lush, infused with fastidious hilarity and a genuine intelligence. It is a poetry of nerves, with a hunger for subtlety. She admits her influences easily, using pop songs and academic quotes in a self-confessed, even parodic search for her voice. As Richard Howard remarks: An astonishment, this first book, and what a comfort Kathleen Ossip teaches at The New School. Her poetry has appeared in Best American Poetry and The Paris Review. She lives outside New York City.

Irresistible, wrote Nobel Laureate Derek Walcott when he selected Kathleen Ossip's The Search Engine for the Honickman Prize from more than 1000 manuscripts. You feel like quoting her, Walcott continued, because she is . . . so fresh and so open. Ossip's poetry is word-rich and music-lush, infused with fastidious hilarity and a genuine intelligence. It is a poetry of nerves, with a hunger for subtlety. She admits her influences easily, using pop songs and academic quotes in a self-confessed, even parodic search for her voice. As Richard Howard remarks: An astonishment, this first book, and what a comfort Kathleen Ossip teaches at The New School. Her poetry has appeared in Best American Poetry and The Paris Review. She lives outside New York City.

100 Best Books of 2011, Publishers Weekly 2011 Notable Books, Academy of American Poets From the powerful drama and formal boldness of "The Status Seekers" to the various theories of criticism in "The Nervousness of Yvor Winters," Kathleen Ossip's second collection takes up the crazed threads of modern experience and all its contradictions. Each poem, each new approach is an attempt to extract something concrete from an era not yet past. Yet as the poet probes and wonders, she gradually reveals another narrative, built on strangled emotion and subdued lyricism. The Cold War is jagged and thought-provoking. It questions the origins and premises of contemporary American culture.

A much anticipated third collection with poems mourning a mother figure, as well as recently deceased cultural icons. Praise for Kathleen Ossip: ?Ossip conjures delightful and unexpected muses?shrewd and ambitious.” ?New York Times Book Review "The Do-Over, Ossip’s third collection, is a lyrical, open-ended, meta-leaning meditation on the subject of death?.[A]n exquisite cocktail of displacement, minutiae, and metapoetic introspection." ?Boston Review ?The biggest surprise in poetry for 2011 is this second book by Kathleen Ossip. It’s got everything one could wish for in a new collection of poems. . . . It’s just beautiful. And terrifying.” ?Publishers Weekly, Best Books of 2011 ?The poet has an uncanny ability to convey what it actually feels like to be alive today?Ossip is one of our foremost ethnographers of contemporary unreality.” ?The Believer ?How do you stay in heaven?” Ossip asks, ?Is it a kind of sophisticated rewind?” Her third collection of poems is haunted by the idea of ?rewind,’ and especially by the teasing possibility that we, too?like the moon, like a plant?may be granted cycles of life, death, and rebirth. The book's overarching narrative is the death of the poet’s stepmother-in-law, a cherished, loving, eccentric woman who returns to its pages again and again. But in spite of its focused grief and ontological urgency, The Do-Over is a varied collection?short acrostics mourn recently dead cultural icons (Amy Winehouse, Steve Jobs, Donna Summer); there's an ode to an anonymous Chinese factory worker, three ?true stories” that read like anecdotes told over drinks, and more. The Do-Over is an unsentimental elegy to a mother figure, a fragmented portrait of its difficult, much loved subject. It's also a snapshot of our death-obsessed, death-denying cultural moment, which in Ossip's gifted hands turns out to be tremulous, skeptical, unsure of ultimate values and, increasingly, driven to find them. ?I am still studying, aren’t you?” she begins. Readers will eagerly embrace the surprise, humor, and seriousness of her quest.

In her groundbreaking and most politicized collection, Kathleen Ossip takes a hard look at the U.S.A. as it now stands. She meditates on our various responses to our country—whether ironic, infantile, righteous, or defeated. Her diction is both high and low, her tone both elegant and straightforward. The book’s crowning achievement, its anchor, and its centerpiece is the poem “July.” In a generous fifty pages, Ossip recounts a road trip from Bemidji, MN, to Key West, FL, with her daughter riding shotgun. Inspired by images that flick across their car windows and nurtured by intimate conversation and plenty of time to think, the poem has an entertaining cinematic sweep. There are poems based on bumper stickers, the names of churches, little shops. Traveling tests her beliefs, and Ossip fully discloses her doubts and confusions. Ossip is an unconventional, mighty magician with words.