Ten Windows: How Great Poems Transform the World, by Jane Hirshfield
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Ten Windows: How Great Poems Transform the World, by Jane Hirshfield
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A dazzling collection of essays on how the best poems work, from the master poet and essayist “Poetry,” Jane Hirshfield has said, “is language that foments revolutions of being.” In ten eloquent and highly original explorations, she unfolds and explores some of the ways this is done—by the inclusion of hiddenness, paradox, and surprise; by a perennial awareness of the place of uncertainty in our lives; by language’s own acts of discovery; by the powers of image, statement, music, and feeling to enlarge in every direction. The lucid understandings presented here are gripping and transformative in themselves. Investigating the power of poetry to move and change us becomes in these pages an equal investigation into the inhabitance and navigation of our human lives. Closely reading poems by Dickinson, BashÅ, Szymborska, Cavafy, Heaney, Bishop, and Komunyakaa, among many others, Hirshfield reveals how poetry’s world-making takes place: word by charged word. By expanding what is imaginable and sayable, Hirshfield proposes, poems expand what is possible. Ten Windows restores us at every turn to a more precise, sensuous, and deepened experience of our shared humanity and of the seemingly limitless means by which that knowledge is both summoned and forged.
Ten Windows: How Great Poems Transform the World, by Jane Hirshfield- Amazon Sales Rank: #56334 in Books
- Brand: Hirshfield, Jane
- Published on: 2015-03-17
- Released on: 2015-03-17
- Original language: English
- Number of items: 1
- Dimensions: 7.77" h x 1.14" w x 5.32" l, 1.25 pounds
- Binding: Hardcover
- 320 pages
Review “Probing and insightful…deeply illuminating…This brilliant collection [asks], ‘How do poems—how does art—work?’ Hirshfield’s original excursions take no shortcuts, subtly integrating image, statement, experience, and understanding.” —World Literature Today “One of our finest poets [and] best essayists on the act of writing and the art of poetry…She speaks to the largest audience of poetry lovers...Windows are thrown open to a vision of poetry from the inside looking out.” —New York Journal of Books“In 20 or 30 years, this book may be remembered as one of the great common-readers on the pleasures of poetry . . . . [Hirshfield’s] approach to poetry is exhilarating. Reading her is reminiscent of the joy found among the insights and illuminations of Hugh Kenner’s best work . . . . This thrilling work of immense value is truly an important book on one of the most important subjects: poetry. However, like a strong drink (or a great poem) it probably isn’t to be taken in a single gulp. It may even seem a little intoxicating, but drink.”—Library Journal, starred review "With precision and passion, Hirshfield elucidates poetry’s “musical shapeliness,” “creative intention,” embrace of uncertainty, and how poetry engenders a profound “unlatching.” She draws stirring examples from Shakespeare, Hopkins, Whitman, Auden, Bishop, Milosz, Brooks, and Komunyakaa and illuminates the power of haiku in her affecting in-depth profile of the Japanese poet Bash. Hirshfield writes brilliantly of paradox in poetry, of what poets and stand-up comics have in common, and how poetry “counters isolation and meaninglessness.” The profound pleasure Hirshfield takes in delineating poetry’s efficacy makes for a beautifully enlightening volume. —Donna Seaman, Booklist (starred review)
About the Author
JANE HIRSHFIELD is the author of eight books of poetry, including The Beauty; Come, Thief; After; and Given Sugar, Given Salt. She has edited and cotranslated four books presenting the work of poets from the past and is the author of two major collections of essays, Nine Gates: Entering the Mind of Poetry and Ten Windows: How Great Poems Transform the World. Her books have been finalists for the National Book Critics Circle Award and England’s T. S. Eliot Prize; they have been named best books of the year by The Washington Post, San Francisco Chronicle, Amazon, and Financial Times; and they have won the California Book Award, the Poetry Center Book Award, and the Donald Hall–Jane Kenyon Prize in American Poetry. Hirshfield has received fellowships from the Guggenheim and Rockefeller foundations, the National Endowment for the Arts, and the Academy of American Poets. Her poems appear in The New Yorker, The Atlantic, The Times Literary Supplement, Poetry, The New Republic, and seven editions of The Best American Poetry. A resident of Northern California since 1974, she is a current chancellor of the Academy of American Poets.
Excerpt. © Reprinted by permission. All rights reserved. Preface Good art is a truing of vision, in the way a saw is trued in the saw shop, to cut more cleanly. It is also a changing of vision. Entering a good poem, a person feels, tastes, hears, thinks, and sees in altered ways. Why ask art into a life at all, if not to be transformed and enlarged by its presence and mysterious means? Some hunger for more is in us—more range, more depth, more feeling; more associative freedom, more beauty. More perplexity and more friction of interest. More prismatic grief and unstunted delight, more longing, more darkness. More saturation and permeability in knowing our own existence as also the existence of others. More capacity to be astonished. Art adds to the sum of the lives we would have, were it possible to live without it. And by changing selves, one by one, art changes also the outer world that selves create and share. This book continues the investigation begun in an earlier volume, “Nine Gates: Entering the Mind of Poetry”. The questions pursued by poems themselves are speckled, partial, and infinite. These books, though, pursue as well a single question: How do poems—how does art—work? Under that question, inevitably, is another: How do we? Inside the intricate clockworks of language and music, event and life, what allows and invites us to feel and know as we do, and then increase our feeling and knowing? Such a question cannot be answered. “We” are different, from one another and, moment by moment, from even ourselves. “Art,” too, is a word deceptively single of surface. Still, following this question for thirty years has given me pleasure, and some sense of approaching more nearly a destination whose center cannot ever be mapped or reached. Excerpted from Ten Windows by Jane Hirshfield. Copyright © 2015 by Jane Hirshfield. Excerpted by permission of Knopf, a division of Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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33 of 34 people found the following review helpful. For lovers of poetry, this is a must read. By Joe Flower Hirshfield's writing about poetry is as insightful, precise, and deep as her poetry. I have long been fascinated by her vision of what poetry is about, what it is for, how it works. I had long thought of Archibald MacLeish's dictum, "A poem should not mean/But be" as a kind of final, complete statement. But Hirshfield takes that much further, into "be what?" Poetry is not, as MacLeish pointed out, a vessel for carrying meaning from the author to the reader, as prose is. Hirshfield explores the idea that all great poetry is instead a mechanism for producing new realities in the reader, opening the reader's soul, not just widening their experience of life but in some important ways pulling it inside out, revealing it to be something greater, deeper, different than it had seemed before.For lovers of poetry, this is a must read.
14 of 14 people found the following review helpful. Writing that speaks to life. By Polly Anna Frish Poetry itself speaks to life, to how we live in the face of inevitable death, change, and transformation. Writing *about* poetry, however, often speaks to... to what, exactly? Pedantry, fuss, and obscurity? Jane Hirshfield knows the real guts and soul of poetry; she is first and foremost a poet, one who deserves the awards and accolades she wins. Her perspective on the practices of making and reading poems is invaluable, and a joy to read.
7 of 7 people found the following review helpful. beautiful images to illustrate By Ari Davidow Hirshfield's language is so clear, and so packed with meaning, that I find myself re-reading paragraphs just to watch, listen to the words unfold with each successive reading. I have just begun reading the book. In the first essay, she talks about how a poem is a creation in which the writer, the reader, and the world collaborate, and then provides crystal-sharp, beautiful images to illustrate, teasing them apart to guide our senses. The way that I read is changing; and as she introduces poets, some new to me, I am eager to encounter them further.
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