Galway Kinnell

In a remarkable generation of poets, Galway Kinnell was an acknowledged, true master. From the book-length poem memorialising the grit, beauty, and swarming assertion of immigrant life along a lower Manhattan avenue, to searing poems of human conflict and war, to incandescent reflections on love, family, and the natural world - including 'Blackberry Eating,” 'St. Francis and the Sow,' and “After Making Love We Hear Footsteps” - to the unflinchingly introspective poems of his later life, Kinnell’s work lastingly shaped the consciousness of his age.

Black Light is a voyage of discovery and transformation. Set in Iran, it tells the story of Jamshid, a quiet simple carpet mender, who one day suddenly commits a murder and is forced to flee. With this violent act his old life ends and a strange new existence begins.Galway Kinnell combines his gift for precise imagery with a storyteller's skill in this journey across the Iranian desert away from the fragile self-righteous virtues of adopted moral tradition, into the disorder and sexual confusion of agonizing self-knowledge. First published in 1966 by Houghton Mifflin, this extensively revised paperback edition of Black Light brings a distinguished novel back into print

Here in paperback is the celebrated eleventh book of poems by Galway Kinnell. The book's title derives from Walt Whitman's "Last Invocation" "Strong is your hold O mortal flesh, / Strong is your hold O love." In this striking collection, Kinnell gives us poems of intermingling with the natural world, love poems and evocations of sexuality, poems about his father, his children, poet friends, poet heroes, and mythic figures. Included also is "When the Towers Fell," his stunning requiem for those who died in the World Trade Center on 9/11.

Galway Kinnell is one of America's most important poets. "Strong is Your Hold" is his first new collection since his "Bloodaxe Selected Poems" (2001), which updated his 1982 "Selected Poems", winner of Pulitzer Prize and the National Book Award. In the citation for the 2003 National Book Award, the judges called Kinnell 'America's preeminent visionary' whose work 'greets each new age with rapture and abundance and sets him at the table with his mentors: Rilke, Whitman, Frost.' The title of his eleventh collection comes from Walt Whitman's 'Last Invocation': 'Strong is your hold, O mortal flesh, / Strong is your hold, O love.' A CD of Galway Kinnell reading all the poems is included with the book. In this striking and varied new book (which was to be the final collection he completed), he gives us poems of intermingling with the natural world, love poems and evocations of sexuality, poems about his father, his children, poet friends, poet heroes and mythic figures. There is also anger and sorrow at human destructiveness, and "Strong Is Your Hold" includes "When the Towers Fell", his stunning requiem for those who died in the World Trade Center on 9/11 in direct view of his New York apartment. Kinnell once said: "What troubles me is a sense that so many things lovely and precious in our world seem to be dying out. Perhaps poetry will be the canary in the mine-shaft warning us of what's to come" and "Maybe the best we can do is do what we love as best we can". "Strong Is Your Hold" is a powerful testament to Galway Kinnell's loving view of the world.

This volume brings together BODY RAGS and MORTAL ACTS, MORTAL WORDS and THE PAST, three books that are central to the life's work of one of the masters of contemporary poetry. Included here are many of Galway Kinnell's best-loved and most anthologized poems. Kinnell has revised some of the poems for this new edition, and comments on his working method in a prefatory note.

This newly assembled volume draws from two books that were originally published in Galway Kinnell's first two decades of writing, WHAT A KINGDOM IT WAS (1960), which included the poem "The Avenue Bearing the Initial of Christ into the New World," and FLOWER HERDING ON MOUNT MONADNOCK (1964). Kinnell has revised some of the work in this new edition, and comments on his working method in a prefatory note.

That Silent Evening I will go back to that silent evening when we lay together and talked in silent voices, while outside slow lumps of soft snow fell, hushing as they got near the ground, with a fire in the room, in which centuries of tree went up in continuous ghost-giving-up, without a crackle, into morning light.Not until what hastens went slower did we sleep.When we got home we turned and looked back at our tracks twining out of the woods, where the branches we brushed against let fall puffs of sparkling snow, quickly, in silence, like stolen kisses, and where the scritch scritch scritch among the trees, which is the sound that dies inside the sparks from the wedge when the sledge hits it off center telling everything inside it is fire, jumped to a black branch, puffed up but without arms and so to our eyes lonesome, and yet also--how can we know this?--happy in shape of chickadee. Lying still in snow, not iron-willed, like railroad tracks, willing not to meet until heaven, but here and there treading slubby kissing stops, our tracks wobble across the snow their long scratch.So many things that happen here are really little more, if even that, than a scratch, too. Words, in our mouths, are almost ready, already, to bandage the one whom the scritch scritch scritch, meaning if how when we might lose each other, scratches scratches scratches from this moment to that. Then I will go back to that silent evening, when the past just managed to overlap the future, if only by a trace, and the light doubles and casts through the dark a sparkling that heavens the earth.

Galway Kinnell was one of America's major modern poets. This new selection – drawing on eight collections from What a Kingdom It Was (1960) to Imperfect Thirst (1994) – updated his 1982 Selected Poems, which won him the Pulitzer Prize and the National Book Award. His poetry was always marked by precise, furious intelligence, by rich aural music, by devotion to the things and creatures of the world, and by transformations of every understanding into singing, universal art. These constants appear in a dazzling range of poems: from odes of kinship with nature to realistic evocations of urban life, from religious quest to political statement, from brief imagistic lyrics to extended, complex meditations. This selection shows how the traditional Christian sensibility of his early work gave way to the sacramental, transfiguring dimension of the later poetry, which 'burrows fiercely into the self away from traditional sources of religious authority or even conventional notions of personality' (Richard Gray). As Kinnell once said: 'If you could keep going deeper and deeper, you'd finally not be a person...you'd be a blade of grass or ultimately perhaps a stone. And if a stone could speak, poetry would be its words.' Through the poem, Kinnell throws off the 'sticky infusion' of speech and - like the hunter in his celebrated poem The Bear - becomes one with the natural world, sharing in the primal experiences of birth and death.

German poet Rainer Maria Rilke(1875-1926) enjoys ever-increasing popularity. His Duino Elegies is considered on of the greatest long poems of the twentieth century. Yet translations from his native German have always presented challenges: the elusiveness of Rilke's imagery, the playful way he both distorts and subverts his own language, and the depth and complexity of his poetry make it difficult for translators to preserve the beauty and meaning of the original text. In his stunning bilingual selection that includes the entire Duino Elegies as well as a number of favorite and less familiar shorter poems, Galway Kinnell and Hannah Liebmann manage to retain power and grace of Rilke's words. Throughout his poetry, Rilke addresses questions of how to live in and relate to a world in a voice that is simultaneoulsy prophetic and intensely personel. These translations offer new insight into this enigmatic German poet whose work will continue to be read and admired throughout the world.

Collects Kinnell's thoughts about poetry