American Noise

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1994 Paperback Fair This book is acceptable which means it is a readable copy; good for the no nonsense person who wants to save some money and won't be offended by a worn ... condition. All pages are intact. The cover is intact (the dust cover may be missing). Pages can include considerable notes--in pen or highlighter--but the notes can not obscure the text. Pages might be wavy from humidity. Please don't buy as a gift, this is a personal reader copy. Read more Show Less

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Hopewell, NJ 1994 Paperback First edition Fine (Signed) Softcover. 8vo. First paperback printing. About fine condition. SIGNED by the poet on the title page. 67 pp.

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Overview

American Noise is a rapturous exploration of American culture and landscape. With compassionate wit and insight, Campbell McGrath transports us on a journey through contemporary society, transforming the commonplace into scenes of profound revelation. From late-night bars to early-morning diners, suburban malls to the Mojave Desert, McGrath's meticulously detailed vision defines singular moments of joy and melancholy.

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More About This Book

Overview

American Noise is a rapturous exploration of American culture and landscape. With compassionate wit and insight, Campbell McGrath transports us on a journey through contemporary society, transforming the commonplace into scenes of profound revelation. From late-night bars to early-morning diners, suburban malls to the Mojave Desert, McGrath's meticulously detailed vision defines singular moments of joy and melancholy.

Editorial Reviews

Publishers Weekly
In his second book of poetry, McGrath ( Capitalism ) writes about ``America, the thing itself'' and about coming of age in a world where there are ``versions of Armageddon / cast up like driftwood on the shallow bar of my youth.'' His style draws on the Beat energy of the '50s; Jack Kerouac's spirit, in particular, hovers over the book. In ``Wheel of Fire, The Mojave,'' McGrath drives across America ``to find myself.'' And in ``Blue Tulips and Night Train for Jack Kerouac's Grave,'' he travels on a bus, glimpses a blue light, ``a manifestation of something deeper, a greater spirit,'' and wishes Kerouac ``could have been there to take courage from it.'' His best writing bursts with ambition, as in ``Nagasaki, Uncle Walt, the Eschatology of America's Century,'' with its ``millennial hootenanny of ludic glee'' and the links suggested between art and the destruction of figures (Jackson Pollock, Anne Sexton) from the poet's youth. Still, McGrath is often too much the observer. His life is ``a favorite film with multiple endings'' with his wife ``the star of each.'' And sometimes verbal brilliance becomes an end in itself: ``stroke the music's / cobbled skin, scaled like fifth notes / and luckless armadillos / flayed to stitch your honky-tonk vestment.'' (Feb.)

Product Details

  • ISBN-13: 9780880013741
  • Publisher: HarperCollins Publishers
  • Publication date: 8/1/1994
  • Edition description: Reprint
  • Pages: 80
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.21 (d)

Meet the Author

Campbell McGrath's previous collections are Shannon, Seven Notebooks, Capitalism, American Noise, Spring Comes to Chicago, Road Atlas, Florida Poems, and Pax Atomica. His awards include the Kingsley Tufts Poetry Award and fellowships from the Guggenheim and MacArthur Foundations. He teaches in the creative writing program at Florida International University in Miami.

Read an Excerpt

Wheatifield Under Clouded Sky

Suppose Gauguin had never seen Tahiti. Suppose the beche-de-mer and
sandalwood trade had not materialized
and the Polynesian gods held fast in the fruit of Nuku Hiva and the milk-
and-honey waters of Eiao.
Suppose that Europe during whichever century of its rise toward science
had not lost faith in the soul.
Suppose the need for conquest had turned inward, as a hunger after
clarity, a siege of the hidden fortress.
Suppose Gauguin had come instead to America. Suppose he left New
York and traveled west by train
to the silver fields around Carson City where the water-shaped, salt- and
heart-colored rocks
appeased the painter's sensibility and the ghost-veined filaments called
his banker's soul to roost.
Suppose he died there, in the collapse of his hand-tunneled mine shaft,
buried beneath the rubble of desire.
Suppose we take Van Gogh as our model. Suppose we imagine him alone
in the Dakotas,
subsisting on bulbs and tubers, sketching wildflowers and the sod huts of
immigrants as he wanders,
an itinerant prairie mystic, like Johnny Appleseed. Suppose what
consumes him is nothing so obvious as crows
or starlight, steeples, cypresses, pigment, absinthe, epilepsy, reapers or
sowers or gleaners,
but is, like color, as absolute and bodiless as the far horizon, the journey
toward purity of vision.
Suppose the pattern of wind in the grass could signify a deeper
restlessness or the cries of land-locked gulls bespoke the democratic
nature of our solitude.
Suppose the troubled clouds themselves were harbingers. Suppose the
veil could belifted.

Table of Contents

Wheatfield Under Clouded Sky 3
Almond Blossoms, Rock and Roll, the Past Seen as Burning fields 5
Wheel of fire, the Mojave 9
Sunset, Route 90, Brewster County, Texas 12
Angels and the Bars of Manhattan 13
James Wright, Richard Hugo, the Vanishing forests of the Pacific Northwest 17
Fire & Ash, Times Square, New Year's Day 19
Smokestacks, Chicago 21
Night Travelers 23
Blue Tulips and Night Train for Jack Kerouac's Grave 26
Wild Thing 37
Sugar Skulls, Oaxaca 40
Nagasaki, Uncle Walt, the Eschatology of America's Century 43
Two figures with Heat Lightning in the Sangre de Cristo Mountains 50
Rock Falls, Illinois 53
Dawn 56
At the Freud Hilton 58
Shrimp Boats, Biloxi 60
Ode to the Wild Horses of Caineville, Utah 62

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