The Quarry by Susan Howe
A powerful selection of Susan Howe's key essays, The Quarry moves backward chronologically, from her brand-new -Vagrancy in the Park- (about Wallace Stevens) through essential texts such as -The Disappearance Approach, - -Personal Narrative, - -Sorting Facts; or, 47 Ways of Looking at Chris Marker, - -Frame Structures, - and -Where Should the Commander Be- to end with her seminal early art criticism, -The End of Art.-
"Reaching back through Hawthorne, Dickinson and beyond, Susan Howe taps a stream of American thinking that is as as clear and fresh as a draught of well waterShe is our conscience, our voice, our song." -- John Ashbery
"No other poet now writing has Howe's power to bring together narrative and lyric, scholarship and historical speculation, found text and pure invention." -- Marjorie Perloff
"Universally recognized as a major poet, Susan Howe should also be known as the most innovative, the most thrilling essayist writing today." -- Eliot Weinberger
"Marvelous with a visionary apprehension of what is to come, telepathic communication with past poetries, histories, lives, material and spiritual realities." -- Jonathan Creasey - The Los Angeles Review of Books
"Howe's brilliant, idiosyncratic essay is—like much of her work—a combination of fierce rigor and deep generosity. Howe unlocks." -- Ben Lerner
"She manages to balance the most cerebral passages with a sharp eye for just the right detail...Howe is not for casual readers, but serious ones will be amply rewarded." -- Publishers Weekly
"For fans of Howe's poetry and readers fascinated by artistic process." -- Kirkus Reviews
"Howe's words give the impression of echoing another, hidden poetry of which we catch only fragments, like an opera sung in another room—except that the other room is death, or history, or the ineffable." -- Geoffrey O'Brien - The Village Voice
"The end result is something of a photographic negative: history refreshed and personalized by virtue of its own estrangement." -- Dustin Illingworth - 3:AM
"Monomania has its rewards—an incantatory power that shines through. Howe's images, being historical as well as biographical, have the eerie shading of ghosts half-believed in, giving a surreal, dreamlike atmosphere reminiscent of Borges at his sharpest." -- Kirkus Reviews
"An important voice in contemporary literature, a signal inheritor of an American poetic tradition. Like Dickinson, her Massachusetts muse, Howe turns the English of a self steeped in books such that every word, as in Scripture, glows with an almost moral quality." -- Artforum
"As a poet and a critic she articulates precisely those soundings of uncertainty, those zones of failed or impaired utterance that constitute the literary history of America's uneasy commerce with the word." -- Richard Sieburth - The Times Literary Supplement
"Susan Howe is a kind of poststructuralist visionary." -- Bruce Campbell
"One of America's foremost poets." -- Publishers Weekly
"No other poet now writing has Howe's power to bring together narrative and lyric, scholarship and historical speculation, found text and pure invention." -- Marjorie Perloff
"Universally recognized as a major poet, Susan Howe should also be known as the most innovative, the most thrilling essayist writing today." -- Eliot Weinberger
"Marvelous with a visionary apprehension of what is to come, telepathic communication with past poetries, histories, lives, material and spiritual realities." -- Jonathan Creasey - The Los Angeles Review of Books
"Howe's brilliant, idiosyncratic essay is—like much of her work—a combination of fierce rigor and deep generosity. Howe unlocks." -- Ben Lerner
"She manages to balance the most cerebral passages with a sharp eye for just the right detail...Howe is not for casual readers, but serious ones will be amply rewarded." -- Publishers Weekly
"For fans of Howe's poetry and readers fascinated by artistic process." -- Kirkus Reviews
"Howe's words give the impression of echoing another, hidden poetry of which we catch only fragments, like an opera sung in another room—except that the other room is death, or history, or the ineffable." -- Geoffrey O'Brien - The Village Voice
"The end result is something of a photographic negative: history refreshed and personalized by virtue of its own estrangement." -- Dustin Illingworth - 3:AM
"Monomania has its rewards—an incantatory power that shines through. Howe's images, being historical as well as biographical, have the eerie shading of ghosts half-believed in, giving a surreal, dreamlike atmosphere reminiscent of Borges at his sharpest." -- Kirkus Reviews
"An important voice in contemporary literature, a signal inheritor of an American poetic tradition. Like Dickinson, her Massachusetts muse, Howe turns the English of a self steeped in books such that every word, as in Scripture, glows with an almost moral quality." -- Artforum
"As a poet and a critic she articulates precisely those soundings of uncertainty, those zones of failed or impaired utterance that constitute the literary history of America's uneasy commerce with the word." -- Richard Sieburth - The Times Literary Supplement
"Susan Howe is a kind of poststructuralist visionary." -- Bruce Campbell
"One of America's foremost poets." -- Publishers Weekly
Susan Howe has won the Bollingen Prize, the Frost Medal, and the Griffin Award. She is the author of such seminal works as Debths, That This, The Midnight, My Emily Dickinson, The Quarry, and The Birthmark.
| SKU | Unavailable |
| ISBN 13 | 9780811222464 |
| ISBN 10 | 0811222462 |
| Title | The Quarry |
| Author | Susan Howe |
| Condition | Unavailable |
| Binding Type | Paperback |
| Publisher | New Directions Publishing Corporation |
| Year published | 2016-01-08 |
| Number of pages | 224 |
| Prizes | Commended for Literary Award (Art of the Essay) 2016 |
| Cover note | Book picture is for illustrative purposes only, actual binding, cover or edition may vary. |
| Note | Unavailable |