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By Knopf

So much poets are or were at one time or one other individuals of what Mark Strand right here calls "The middle of the night Club": they're insomniacs, or think most efficient in the course of the evening, or, if not anything else, are humans whose paintings calls for an openness to the desires, visions, and scraps of encouraged language which may waft throughout our direction within the wee hours. during this choice, drawn from Knopf's Poem-a-Day software (the day-by-day e-mails we've despatched to our enthusiasts each April for the final dozen years or more), we've collected the various major nocturnal entries by way of our poets. listed here are poems of affection and loss (J. D. McClatchy's "Little Elegy," Kevin Young's "Chorale"), poems lower than the moon and in inn rooms (Frank O'Hara's "Avenue A," Sharon Olds's "Sleep Suite"), poems detailing pressing self-examinations and Jewish mourning rituals, or heralding the arriving of a visionary political assertion like "They Feed They Lion," a poem from the early Seventies through poet laureate Philip Levine. every one incorporates us on a trip clear of the distractions of sunlight hours and right into a realm of heightened figuring out.

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Extra resources for Poems After Midnight (A Knopf Poem-a-Day Selection)

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In February 1937 he wrote: “It’s awfully silly ever to do anything but read Shakespeare,” and this might sound like only a young snob’s boast, but he seems to have meant it. In May 1944 he won a fellowship from the Rockefeller Foundation, for Shakespeare textual study; he worked by night in a small basement office in the Princeton University library, and when it was locked he climbed in and out through a window. ” In 1964 he won another grant, to complete the book that was now called “Shakespeare’s Friend,” and he went to Washington to do research but spent all his time in bars.

She arrived in New England in 1630 and her first volume of verse was published in 1650. Berryman calls to her across the centuries. Out of maize & air your body’s made, and moves. I summon, see, from the centuries it. I think you won’t stay he fears, but she comes to him. In the fifth stanza, her voice begins to take over. “By the week we landed we were, most, used up,” she recounts, and tells him of her life, her early days in the New World, the first winters, and—in a rightly celebrated passage—the birth of her first child: One proud tug greens Heaven.

He is increasingly explicit, about both sex and his life; he includes his home address in Minneapolis in one poem. But he warns: “I am not writing an autobiography-in-verse, my friends,” and we may see these poems in two slightly different contexts. Berryman was first admitted to the hospital for alcoholism in 1959, and for the rest of his life he was regularly in treatment: most often at the Abbott Hospital in Minneapolis, where he wrote many Dream Songs (“I prop on the costly bed & dream of my wife”), and the Intensive Alcohol Treatment Center at St.

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