Kirjahaku

Sharon Olds divides this new book into five sections - 'Blood', 'Tin', ' 'Straw', ' 'Fire' and 'Light' - each made up of fourteen poems whose dominant imagery is drawn from one of these elements.

The Unswept Room is a dazzling collection of poems that project a fresh spirit, a startling energy of language and rhythm, and a moving, elegiac tone shot through with humour.

This rich selection - made by the author - exhibits those qualities in poem after poem, reflecting, moreover, an exciting experimentation with rhythm and language and a movement toward an embrace beyond the personal.

Sharon Olds completes her cycle of family poems in a book at once intense and harmonic, playful with language, and rich with a new self-awareness and sense of irony.

Eliot Poetry PrizeStag's Leap, Sharon Olds' stunningly poignant new sequence of poems, tells the story of a divorce, embracing strands of love, sex, sorrow, memory, and new freedom.

Winner of the 2000 Paterson Poetry Prize"She has written without embarrassment or apology, with remarkable passion and savagery and nerve, poems about family and family pathology, early erotic fascination, and sexual life inside marriage."--Amy HempelSharon Olds divides this new book into five sections--"Blood," "Tin," "Straw," "Fire," and "Light"--each made up of fourteen poems whose dominant imagery is drawn from one of these elements. The poems are rooted in different moments of an ordinary life and weave back and forth in time. Each section suggests the progression of the making of a soul cleansed by blood, forged by fire, suffused by light. Unafraid to confront the ecstatic or the brutal side of a woman's experience, Sharon Olds transforms her subjects with an alchemist's art, using language that is alternately casual and startling, fierce and transcendent. This is an intensely moving collection by one of our finest poets.

A powerful collection of poems about family and grief--by the Pulitzer Prize and T. S. Eliot Prize for Poetry winner, called "a poet for these times, a powerful woman who won't back down" (San Francisco Chronicle).Sharon Olds completes her cycle of family poems in a book at once intense and harmonic, playful with language, and rich with a new self-awareness and sense of irony. The opening poem, with its sequence of fearsome images of war, serves as a prelude to poems of home in which humor, anger, and compassion sing together with lyric energy--sometimes comic, sometimes filled with a kind of unblinking forgiveness. These songs of joy and danger--public and private--illuminate one another. As the book unfolds, the portrait of the mother goes through a moving revisioning, leading us to a final series of elegies of hard-won mourning. One Secret Thing is charged throughout with Sharon Olds's characteristic passion, imagination, and poetic power. The doctor on the phone was young, maybe on hisfirst rotation in the emergency room.On the ancient boarding-school radio, in the attic hall, the announcer had given myboyfriend's name as one of twobrought to the hospital after the sunriseservice, the egg-hunt, the crash--one of themcritical, one of them dead. I was looking at thestairwell banisters, at their lathing, the necks and knobs like joints and bones, the varnish here thicker here thinner--I had saidWhich one of them died, and now the world wasan ant's world: the huge crumb of eachsecond thrown, somehow, up ontomy back, and the young, tired voicesaid my fresh love's name. from "Easter 1960"

PULITZER PRIZE WINNER - From one of today's best poets--a stunningly poignant sequence of poems that tells the story of a divorce, embracing strands of love, sex, sorrow, memory, and new freedom.In this wise and intimate telling--which carries us through the seasons when her marriage was ending--Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love's sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband's smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable "Stag's Leap," "When anyone escapes, my heart / leaps up. Even when it's I who am escaped from, / I am half on the side of the leaver." Olds's propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music--sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

The 1983 Lamont poetry selection of the Academy of American Poets.

A new collection by the much praised poet whose second book THE DEAD AND THE LIVING, was both the Lamont Poetry Selection for 1983 and winner of the National Book Critics Circle Award.

NATIONAL BOOK AWARD FINALIST - Songs from our era of communal grief and reckoning--by the Pulitzer Prize and T. S. Eliot Prize for Poetry winner, called a poet for these times, a powerful woman who won't back down (San Francisco Chronicle). At the time of have-not, I look at myself in this mirror, writes Olds in this self-scouring, exhilarating volume, which opens with a section of quarantine poems, and at its center boasts what she calls Amherst Balladz (whose syntax honors Emily Dickinson: she was our Girl - our Woman - / Man enough - for me) and many more in her own contemporary, long-flowing-sentence rhythm. Olds sings of her childhood, young womanhood, and maturity all mixed up together, seeing an early lover in the one who is about to buried; seeing her whiteness, seeing her privilege; seeing her mother (whom her readers will recognize) flushed exalted at Punishment time; seeing how we've spoiled the earth but carrying a stray indoor spider carefully back out to the garden. It is Olds's gift to us that in the richly detailed exposure of her sorrows she can still elegize songbirds, her true kin, and write that heaven comes here in life, not after it.

Sharon Olds's dazzling new collection is a sequence of poems that reaches into the very wellspring of life. The poems take us back to the womb, and from there on to childhood, to a searing sexual awakening, to the shock of childbirth, to the wonder and humor of parenthood--and, finally, to the depths of adult love. Always bold, musical, honest, these poems plunge us into the essence of experience. This is a highly charged, beautifully organized collection from one of the finest poets writing today.

This 45th anniversary hardback collector's edition of the bestselling debut collection of poetry by Sharon Olds includes a new interior design and an introduction by Diane Seuss. Satan Says received the inaugural San Francisco Poetry Center Award in 1980.

First published in 1980, the classic poetry of Sharon Olds’ Satan Says was introduced into college courses twenty years ago, and still maintains a wide usage today. Few first books have the power or vigor of design of Satan Says. Marilyn Hacker described it as “a daring and elegant first book. This is a poetry which affirms and redeems the art.”

NATIONAL BOOK AWARD FINALIST - Songs from our era of communal grief and reckoning--by the Pulitzer Prize and T. S. Eliot Prize for Poetry winner, called "a poet for these times, a powerful woman who won't back down" (San Francisco Chronicle). "At the time of have-not, I look at myself in this mirror," writes Olds in this self-scouring, exhilarating volume, which opens with a section of quarantine poems, and at its center boasts what she calls Amherst Balladz (whose syntax honors Emily Dickinson: "she was our Girl - our Woman - / Man enough - for me") and many more in her own contemporary, long-flowing-sentence rhythm. Olds sings of her childhood, young womanhood, and maturity all mixed up together, seeing an early lover in the one who is about to buried; seeing her whiteness, seeing her privilege; seeing her mother (whom her readers will recognize) "flushed exalted at Punishment time"; seeing how we've spoiled the earth but carrying a stray indoor spider carefully back out to the garden. It is Olds's gift to us that in the richly detailed exposure of her sorrows she can still elegize songbirds, her true kin, and write that heaven comes here in life, not after it.

Each aria is shaped by its unique melody and moral logic, as Olds stands centre stage to account for her own late romance and chance wisdom, and faces the tragic life of our nation and our planet.

Arguably America's greatest living poet, Sharon Olds enters her eightieth year with a book for our times: a book of fear, fragility and love of life***NATIONAL BOOK AWARD FINALIST******AN OBSERVER BOOK OF THE YEAR 2023***'Sharon Olds is a force of nature... She proves triumphantly evergreen'OBSERVER'At the time of have-not, I look at myself in this mirror,' writes Olds in this self-scouring, exhilarating collection, which opens with a section of quarantine poems, followed by her 'Amherst Balladz', honouring Emily Dickinson - 'she was our Girl - our Woman - / Man enough - for me' - and leads to celebrations of lost friends and lovers: her childhood, young womanhood, and old age all mixed up together. She examines her white privilege, sees her mother 'flushed and exalted at punishment time', celebrates the human body, even in ageing, and looks with wonder at the natural world and how we've spoiled it.Renowned for her poetry of searing honesty, sexual frankness and brave originality, Sharon Olds' new book emerges 'at the eleventh hour of the end of the world', from the time of plague, this time of loss, where she can look at the world and her life and tell us plainly 'love is the love of who we are, it is a form of knowing.'

Opening with a powerful and tender 'Ode to the Hymen', the author uses this age-old poetic form to address many aspects of herself, in a collection that is centred around the female body and female pleasures, and touches along the way on parts of her own story which will be familiar from earlier works, each episode and more.

I diktsamlingen «Oder» fornyer Sharon Olds ode-tradisjonen og setter den i en ny og moderne kontekst. I dikt som «Ode til skjedekransen», «Ode til min søster» og «Ode til blowjoben», undersøker Olds velkjente temaer og posisjoner. Rollene mor, datter, søster, kone, elsker og venn utforskes i dikt som oppleves tilgjengelige og komplekse på samme tid. Sharon Olds er både en kontroversiell og folkekjær poet i USA. Et knippe av diktene hennes er representert på norsk i antologien «Verden finnes ikke på kartet» (red. Pedro Carmona-Alvarez og Gunnar Wærness, 2010). «Oder» er Sharon Olds' første enkeltverk i norsk gjendiktning.

Following her recent Odes, the Pulitzer Prize-winning poet gives us a new collection of poems that sing of a woman's intimate life and political conscience. The atom bomb, Breaking Bad, the cervix, Trayvon Martin, her mother's return from the dead: the peerless Sharon Olds once again takes up subject matter that is both difficult and ordinary, elusive and everywhere. Each aria is shaped by its unique melody and moral logic, as Olds stands center stage to account for her own late romance and chance wisdom, and faces the tragic life of our nation and our planet. "I cannot say I did not ask / to be born," begins one aria, which considers how, with what actions, with what thirst, we each ask for a turn, and receive our portion on earth. Olds delivers these pieces with all the passion, anguish, and solo force that make a great performance, in the process enlarging the soul of her reader.