Geoffrey Brock

"Among the finest poets of his generation."--Richard Wilbur, two-time winner of the Pulitzer Prize for Poetry"Like Frost before him, Brock has the power to make earthbound words take flight."--Boris Dralyuk, author of My Hollywood and Other PoemsThe title of Geoffrey Brock's third poetry collection, After, works in two ways. Many of the poems were written after, and in response to, the death of Brock's father, who was also a poet. And many are in some way "after"--as in, in the manner of--other poems or works of art. Such texts, often called "versions" or "imitations," have long been seen as, in Samuel Johnson's words, "a kind of middle composition between translation and original design."Brock has been writing and translating poems for forty years, and for most of his career those two activities proceeded along parallel but distinct tracks. In recent years, however, he has been increasingly drawn to that middle space where the tracks converge. For Brock, it's a conversational space, in which he listens to the call of earlier works and offers responses from his own life: by turns bleak and beautiful, poignant and funny, sorrowful and accepting. Poets owe debts to other poets as surely as each of us does to those who raised us, and After is a partial account of such personal and poetic inheritances.

Appearing together in English for the first time, three politically charged sci-fi graphic novellas by a pioneering French comics artist. An anonymous official chides a man under surveillance for stepping out of view of a security camera; visitors to an underground mall are forced to form a new society when a nuclear strike may (or may not) have left them as the sole survivors on Earth; newlyweds living in an authoritarian New York City attempt to navigate the insidious hurdles of being permitted to have a child; and a Puerto Rican boxer discovers that segregation continues in America long after death. These are the visions of Chantal Montellier, a contributor to the legendary M tal Hurlant, and the creator of some of the most striking and stirring science fiction comics of the 1970s and 1980s. In this collection of three novellas, Wonder City, Shelter, and 1996, published together in English for the first time, Montellier's blend of dark humor, gripping storytelling, and consistent focus on the perils of totalitarianism, shows her to be a master of both comics and science fiction.

Geoffrey Brock, whose translations have won him Poetry magazine's John Frederick Nims Memorial Prize and a Guggenheim Fellowship, finally does justice to these slim, concentrated verses in his English translation, alongside Giuseppe Ungaretti's Italian originals. Famed for his brevity, Ungaretti's early poems swing nimbly from the coarse matter of tram wires, alleyways, quails in bushes, and hotel landladies to the mystic shiver of pure abstraction.

Poetry. VOICES BRIGHT FLAGS is a series of experiments in what is sometimes called public poetry, with the poet's country, America, and his relation to it, as the main theme. The poems approach America from a range of perspectives--political, historical, and personal--and in a range of styles and voices, with each voice planting its own flag, as it were, implying its own America. Together the poems form a partial (in both senses) mosaic, a discordant chorus, a succession of conversations and quarrels between the poet and the motley citizens of his imagination. "The collection VOICES BRIGHT FLAGS could have been created only by a lover of texts--an avid consumer of histories, biographies, diaries, essays, articles, ledgers, novels and ephemera. It is a book of and for the old-fashioned reader, the one who will appreciate the precise prosodic dados and dove-tailings of the poet's craft."--from Heather McHugh's foreword "Geoffrey Brock's VOICES BRIGHT FLAGS is ambitious in the best sense of the term. The breadth of his subjects--from the first Western contact with the Hawaiian Islands, to ornithology, the buffalo nickel, and his young son's nightmares--makes the unity of vision behind the book all the more striking. There is insight here without self-consciousness, bold craft without showiness. VOICES BRIGHT FLAGS is a rich, important, and deeply humane collection."--Don Bogen "Geoffrey Brock's VOICES BRIGHT FLAGS is rooted in political emotions, not political opinions. It combines exquisite technical sophistication with plainspoken language attuned to the particulars of time and place, a combination put in service to a rich and troubled vision of America as both stubborn dream and dream-killing reality. If you're looking for poetry that is immersed in literary and social history while avoiding all the usual pieties and commonplaces about American culture in favor of keenly evoked and deeply felt experience, personal and collective, this book is for you."--Alan Shapiro " W]hile distinguishing himself as one of the pre-eminent translators of Italian poetry in this country, Brock showed himself with his first book, Weighing Light, also to be one of the most gifted of the younger formalists. His gift is on full display in the new book. Many of the poems in VOICES BRIGHT FLAGS take figures and events from American history as their subjects. It is a curious thing about old fashioned poetic form that not only is it best for humorous verse . but it accommodates historical subjects well and both reveals their symmetries and hints at their chaotic origins. This may be true of any poetry about a historical subject, from the Iliad to 'The Shield of Achilles.' In the book's first poem, 'Bryant Park at Dusk, ' Brock suggests that the act of reading will be his subject. He describes watching a woman reading on a park bench as the evening comes on. He sees how she looks away from her reading, then returns, still in a kind of revery. It is perhaps this revery of attention that his series of historical poems asks of us: a return to subjects we think we know already. The subjects of the poems range from Phillis Wheatley in England to the battle of Cold Harbor to the Westward Expansion to Anzio in World War II to the ivory-billed woodpecker and the passenger pigeon. Brock is such a good writer that you never wonder if he can sustain the poem."--Mark Jarman

The fifth winner of the annual New Criterion Poetry Prize is Geoffrey Brock's Weighing Light. From the glinting scales in a painting by Vermeer to the white lines that disappear beneath a headlight's beam, Mr. Brock's poems measure out the often elusive weights and distances of the known world, confronting the unruly powers that threaten his burnished surfaces. His acute observations of landscape and of the smallest gestures that pass between people give rise to affecting human dramas both stark and deeply felt. Once read, his keen perceptions—all the more striking for the expertly cadenced music of his language and his supple use of poetic form—will be long remembered.