By Marilyn Hacker
A range of poems that addresses the quotidian and the worldwide, from certainly one of our so much crucial poets.
Drawing on twenty years worthy of award-winning poetry, Marilyn Hacker's beneficiant decisions in A Stranger's replicate contain paintings from 4 past volumes besides twenty-five new poems, ranging in locale from a solitary bed room to a refugee camp.
In a multiplicity of voices, Hacker engages with translations of French and Francophone poets. Her poems belong to an city global of cafés, bookshops, bridges, site visitors, demonstrations, conversations, and solitudes. From there, Hacker reaches out to different websites and personas: a refugee camp at the Turkish/Syrian border; contrapuntal monologues of a Palestinian and an Israeli poet; intimate and overseas exchanges abbreviated on Skype—perhaps with gunfire within the background.
These poems path via sonnets and ghazals, via sapphics and syllabics, via each historic-organic development, from renga to rubaiyat to Hayden Carruth's "paragraph." each one can be an implicit dialog with the poets who got here sooner than, or who're writing as we read.
A Stranger's replicate isn't intended just for poets. those poems belong to somebody who has sought in language an expression and extension of his or her engagement with the world—far off or up shut because the morning's first cup of tea.
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Written within the poet's certain own idiom, those early poems contain "Chicago," "Fog," "To a latest Bunkshooter," "Who Am I? " and "Under the Harvest Moon," in addition to many others on issues of warfare, immigrant lifestyles, demise, love, loneliness and the wonderful thing about nature.
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Additional resources for A Stranger's Mirror: New and Selected Poems 1994-2014
4 With Olson's work, Duncan writes, "the opening up of great spaces in consciousness had begun, and in the very beginning, it its origins, he moves in, as he knows he must, to redirect the ideas of language and of the body, of Man, of commune, and of history" ("Introduction" 80). This "consciousness" includes a consciousness of the space of the page, and writers of Olson's circle, Duncan and Robert Creeley among them, addressed the physical space of the page. The question then becomes how, on the Net, writing intersects with its materials.
It behooves us now to begin to map this terrain and locate our position within it. To do so, it is crucial to delimit this field critically. There are a number of points that need to be clarified. What constitutes innovative practice in digital media? Is the dominance of hypertext practice to be questioned in this field? What are the defining features of the e-text, what is the relation of code to textuality, and what new parameters do we need to read in this medium? What criteria do we use to identify works that advance the possibilities of this field?
A Stranger's Mirror: New and Selected Poems 1994-2014 by Marilyn Hacker