Ellen Bryant Voigt

In eight extraordinary volumes spanning five decades, Ellen Bryant Voigt has created a body of work distinguished by its formal precision, rigorous intelligence and meticulous observation of nature, history and domestic life. From the subtly evocative images of Claiming Kin(1976) to the mosaic of sonnets and voices conjuring a prescient narrative of the 1918 influenza pandemic in Kyrie (1995) to fierce encounters with mortality in the National Book Award finalist Shadow of Heaven (2002) and the propulsive inventions of Headwaters (2013), the evolution of Voigt’s astonishing creative and technical mastery is on full display. This definitive collection showcases the brilliant career of “a quintessential American elegist” (Katy Didden, Kenyon Review). From “Apple Tree ”O my soul, it is not a small thing, to have made from three, this one, this one life.

In eight extraordinary volumes spanning five decades, Ellen Bryant Voigt has created a body of work distinguished by its formal precision, rigorous intelligence, and meticulous observation of nature, history, and domestic life. From the subtly evocative images of Claiming Kin (1976) to the mosaic of sonnets and voices conjuring a prescient narrative of the 1918 influenza pandemic in Kyrie (1995) to fierce encounters with mortality in the National Book Award finalist Shadow of Heaven (2002) and the propulsive inventions of Headwaters (2013), the evolution of Voigt’s astonishing creative and technical mastery is on full display. This definitive collection showcases the brilliant career of “a quintessential American elegist” (Katy Didden, Kenyon Review). From “Apple Tree” O my soul, it is not a small thing, to have made from three, this one, this one life.

Rash yet tender, chastened yet lush, Headwaters is a book of opposites, a book of wild abandon by one of the most formally exacting poets of our time. Animals populate its pages—owl, groundhog, fox, each with its own inimitable survival skills—and the poet who so meticulously observes their behaviours has accumulated a lifetime’s worth of skills herself: she too has survived. The power of these extraordinary poems lies in their recognition that all our experience is ultimately useless—that human beings are at every moment beginners, facing the earth as if for the first time. "Don’t you think I’m doing better," asks the first poem. "You got sick you got well you got sick," says the last. Eschewing punctuation, forgoing every symmetry, the poems hurl themselves forward, driven by an urgent need to speak. Headwaters is a book of wisdom that refuses to be wise, a book of fresh beginnings by an American poet writing at the height of her powers.

Rash yet tender, chastened yet lush, Headwaters is a book of opposites, a book of wild abandon by one of the most formally exacting poets of our time. Animals populate its pages—owl, groundhog, fox, each with its own inimitable survival skills—and the poet who so meticulously observes their behaviors has accumulated a lifetime’s worth of skills herself: she too has survived. The power of these extraordinary poems lies in their recognition that all our experience is ultimately useless—that human beings are at every moment beginners, facing the earth as if for the first time. "Don’t you think I’m doing better," asks the first poem. "You got sick you got well you got sick," says the last. Eschewing punctuation, forgoing every symmetry, the poems hurl themselves forward, driven by an urgent need to speak. Headwaters is a book of wisdom that refuses to be wise, a book of fresh beginnings by an American poet writing at the height of her powers.

With intelligence and precision, Ellen Bryant Voigt parses out the deft and alluring shape of poetic language in The Art of Syntax. Through brilliant readings of poems by Bishop, Frost, Kunitz, Lawrence and others, Voigt examines the signature musical scoring writers deploy to orchestrate meaning. This structure - this architecture - is the essential drama of the poem's composition,' she argues. The Art of Syntax is an indispensable book on the writer's craft by one of America's best and most influential poets and teachers.'

Over nearly fifty years, Eleanor Ross Taylor has established herself as one of the foremost southern poets of her generation. Captive Voices gathers selections from Taylor's five previous books along with a generous helping of new poems. Scintillating, unusual, passionate, and profound, the poems range from contemporary pieces about a bag lady on a bus, to historical pieces about settlers held hostage and a wartime nurse caring for British wounded, to intensely personal poems about her dislike for her grandmother and worries about her son. The title poem - a real tour de force - explores the notion of captivity on several levels as it speaks to the suffering we all endure, some of which is of our own making. Decidedly regional yet determinedly universal, the poems in this remarkable volume, along with a foreword by Ellen Bryant Voigt, attest to the singular talent of a woman justly described as ""a poet of genius.

To witness the maturation of a poet over time is one of the great pleasures of reading. Here Ellen Bryant Voigt gives us that narrative distilled and amplified, arranging selections from six previous volumes to culminate in transcendent recent poems.

To witness the maturation of a poet over time is one of the great pleasures of reading. Here Ellen Bryant Voigt gives us that narrative distilled and amplified, arranging selections from six previous volumes to culminate in transcendent recent poems.

Following her stringent and much-acclaimed Kyrie, finalist for the National Book Critics Circle Award, Ellen Bryant Voigt now examines more intimately the ordeals and exaltations of everyday life. Nature, both fierce and benign, infuses this collection, furthering "an art at once ravishing and stern and deeply human" (American Academy of Arts and Letters).

These nine eloquent and skillfully crafted essays by a distinguished poet examine the art of lyric poetry in all aspects of its design and structure. Through attentive readings of a variety of artists, including her contemporaries, Ellen Bryant Voigt celebrates the structure and elasticity of lyric poems. She argues for reading as a writer reads—with equal parts passion and analysis. Her analyses of the effects of tone, image, voice, and structure connect brilliant theory with tangible examples.Intimate as well as informative, the collection begins with a discussion of the creative process and Voigt's fascination with the writing of Flannery O'Connor and Elizabeth Bishop. Readings of lyric poems by Shakespeare, Sidney, Poe, Stevens, Williams, Larkin, Bogan, Roethke, Plath, Levertov, Berryman, and others demonstrate the roles of gender, point of view, image, and music in poetry. An experienced teacher, Voigt focuses on the lyric but encourages, in any study of poetry, original thinking, attention to structure, and, above all, close reading of the work itself. An intelligent and thought-provoking marriage of art and scholarship, The Flexible Lyric exemplifies, with fierceness, dedication, and precision, how the making of poems is not just a trade but a calling.

In a fifth collection of poetry, sonnets explore the lives of people coping with a plague as they reflect on the influenza pandemic of 1918-1919, which killed some twenty-five million people around the globe. Reprint.

Human character and human destiny—will and fate—pervade Ellen Voigt’s work, giving her poems of relationship, her exploration of an individual past, rare depth and power. Now, in her fourth collection, a sustained meditation infuses the work, examining the myth of self, the human compulsion to remedy or augment fortune, and the limits of “what’s given and what’s made from luck and will.” Where will and fate collide is what chiefly occupies Voigt.

Poems devoted to family and the physical world.