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In the Permanent Collection
Paperback
Series: Vassar Miller Prize in Poetry, Book 21
Please select the version of book you would like to purchase.
ISBN10: 1574415549
ISBN13: 9781574415544
Publisher: University of North Texas Press
Published: Mar 19 2014
Pages: 84
Weight: 0.30
Height: 0.20 Width: 6.00 Depth: 9.00
Language: English
ISBN13: 9781574415544
Publisher: University of North Texas Press
Published: Mar 19 2014
Pages: 84
Weight: 0.30
Height: 0.20 Width: 6.00 Depth: 9.00
Language: English
Winner of the Vassar Miller Prize in Poetry, 2013.
Trying to make sense of a disordered world, Stefanie Wortman's debut collection examines works of art as varied as casts of antique sculpture, 19th-century novels, and even scenes from reality television to investigate the versions of order that they offer. These deft poems yield moments of surprising levity even as they mount a sharp critique of human folly.
These poems seem haunted by a mostly nameless melancholia. In The Permanent Collection, however, turns its grim geography of prisons, mortuaries, and tawdry suburbs into something close to classical elegy. 'In sunken rooms, ' Wortman writes, 'on scratchy rugs, maybe we've never known happiness.' It's that 'maybe'--the smart hedge--that renders her poems complex, often beguiling, but never without a gesture of redemption. This should be part of any serious poet's permanent collection.--Chad Davidson, author, The Last Predicta and judge
From Long Occupation
I was naïve of foreign affairs in the Four
Seasons bar when a Swiss knife maker
assured me of the coming war. . .
Trying to make sense of a disordered world, Stefanie Wortman's debut collection examines works of art as varied as casts of antique sculpture, 19th-century novels, and even scenes from reality television to investigate the versions of order that they offer. These deft poems yield moments of surprising levity even as they mount a sharp critique of human folly.
These poems seem haunted by a mostly nameless melancholia. In The Permanent Collection, however, turns its grim geography of prisons, mortuaries, and tawdry suburbs into something close to classical elegy. 'In sunken rooms, ' Wortman writes, 'on scratchy rugs, maybe we've never known happiness.' It's that 'maybe'--the smart hedge--that renders her poems complex, often beguiling, but never without a gesture of redemption. This should be part of any serious poet's permanent collection.--Chad Davidson, author, The Last Predicta and judge
From Long Occupation
I was naïve of foreign affairs in the Four
Seasons bar when a Swiss knife maker
assured me of the coming war. . .
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