Read Velocities: New and Selected Poems, 1966-1992 by Stephen Dobyns Free Online


Ebook Velocities: New and Selected Poems, 1966-1992 by Stephen Dobyns read! Book Title: Velocities: New and Selected Poems, 1966-1992
Language: English
Format files: PDF
The size of the: 15.57 MB
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Loaded: 2337 times
Reader ratings: 4.3
The author of the book: Stephen Dobyns
Edition: Bloodaxe Books Ltd
Date of issue: May 1st 1996
ISBN: 1852242647
ISBN 13: 9781852242640

Read full description of the books:



Dobyns is a poet for those who like their language weave loose, narrative, funny, profound. It's not condensed poetry, in general (though some of the early poems, based on Anglo-Saxon riddles are gnomic, riddling, epigrammatic), but rather the wise-cracking writing of a poet with a great sense of sentence rhythm and of the arc of the page-and-a-half poem. He's darker than Billy Collins and funnier than Phil Levine, has both the comic and the tragic masks hanging on the walls of his poems.

Here's a good example of the sort of things that he does in this terrific collection:


Spiritual Chickens

A man eats a chicken every day for lunch,
and each day the ghost of another chicken
joins the crowd in the dining room. If he could
only see them! Hundreds and hundreds of spiritual
chickens, sitting on chairs, tables, covering
the floor, jammed shoulder to shoulder. At last
there is no more space and one of the chickens
is popped back across the spiritual plain to the earthly.
The man is in the process of picking his teeth.
Suddenly there’s a chicken at the end of the table,
strutting back and forth, not looking at the man
but knowing he is there, as is the way with chickens.
The man makes a grab for the chicken but his hand
passes right through her. He tries to hit the chicken
with a chair and the chair passes through her.
He calls in his wife but she can see nothing.
This is his own private chicken, even if he
fails to recognize her. How is he to know
this is a chicken he ate seven years ago
on a hot and steamy Wednesday in July,
with a little tarragon, a little sour cream?
The man grows afraid. He runs out of his house
flapping his arms and making peculiar hops
until the authorities take him away for a cure.
Faced with the choice between something odd
in the world or something broken in his head,
he opts for the broken head. Certainly,
this is safer than putting his opinions
in jeopardy. Much better to think he had
imagined it, that he had made it happen.
Meanwhile, the chicken struts back and forth
at the end of the table. Here she was, jammed in
with the ghosts of six thousand dead hens, when
suddenly she has the whole place to herself.
Even the nervous man has disappeared. If she
had a brain, she would think she had caused it.
She would grow vain, egotistical, she would
look for someone to fight, but being a chicken
she can just enjoy it and make little squawks,
silent to all except the man who ate her,
who is far off banging his head against a wall
like someone trying to repair a leaky vessel,
making certain that nothing unpleasant gets in
or nothing of value falls out. How happy
he would have been to be born a chicken,
to be of good use to his fellow creatures
and rich in companionship after death.
As it is he is constantly being squeezed
between the world and his idea of the world.
Better to have a broken head—why surrender
his corner on truth?—better just to go crazy.


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Read information about the author

Ebook Velocities: New and Selected Poems, 1966-1992 read Online! Dobyns was raised in New Jersey, Michigan, Virginia, and Pennsylvania. He was educated at Shimer College, graduated from Wayne State University, and received an MFA from the Iowa Writers' Workshop at the University of Iowa in 1967. He has worked as a reporter for the Detroit News.

He has taught at various academic institutions, including Sarah Lawrence College, the Warren Wilson College MFA Program for Writers, the University of Iowa, Syracuse University, and Boston University.

In much of his poetry and some works of non-genre fiction, Dobyns employs extended tropes, using the ridiculous and the absurd as vehicles to introduce more profound meditations on life, love, and art. He shies neither from the low nor from the sublime, and all in a straightforward narrative voice of reason. His journalistic training has strongly informed this voice.






Reviews of the Velocities: New and Selected Poems, 1966-1992


CAMERON

Why do you need to drive a phone?

OWEN

When you regret the book ends!

GRACE

This book is holding in tensions until the end!

SAMUEL

After this book, I look at the world with different eyes!

MATILDA

An interesting book that says more than you can fit




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