Music like Dirt

Overview

Frank Bidart writes of Music Like Dirt, "I wanted to make a sequence in which the human need to make is seen as not only central but inescapable. I wanted not a tract, but a tapestry in which making is seen in the context of the other processes?sexuality, mortality?inseparable from it."

"Bidart has patiently amassed as profound and original a body of work as any now being written in this country. He has given form for our age to what is most urgent and most private in the human soul: the ordeals of solitude and ...

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Overview

Frank Bidart writes of Music Like Dirt, "I wanted to make a sequence in which the human need to make is seen as not only central but inescapable. I wanted not a tract, but a tapestry in which making is seen in the context of the other processes—sexuality, mortality—inseparable from it."

"Bidart has patiently amassed as profound and original a body of work as any now being written in this country. He has given form for our age to what is most urgent and most private in the human soul: the ordeals of solitude and mortality and hunger and, recently, that action through which being speaks: the drive to make or create. Bidart’s poems sound like no one else’s; they look like no one else’s. . . . He is, in the feeling of our jury, one of the great poets of our time."—Louise Glück, jury chair, 2001 Wallace Stevens Award The Academy of American Poets

The inaugural edition in Sarabande's Quarternote Chapbook Series which will feature a select group of poets by invitation only

Frank Bidart's collections of poetry include Desire (1997), which received the 1998 Bobbitt Prize for Poetry from the Library of Congress and the Theodore Roethke Memorial Poetry Prize, and was nominated for the National Book Award, the National Book Critics Circle Award, and the Pulitzer Prize; In the Western Night: Collected Poems 1965-90 (1990); The Sacrifice (1983); The Book of the Body (1977); and Golden State (1973). Among his many honors are the Lila Acheson Wallace/Reader’s Digest Fund Writer’s Award, the Morton Dauwen Zabel Award given by the American Academy of Arts and Letters, the Shelley Award of the Poetry Society of America, and the Lannan Literary Award. He teaches at Wellesley College and lives in Cambridge, Massachusetts.

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Editorial Reviews

The Los Angeles Times
These poems, as all Bidart poems, seem to come from nowhere, out of the air — just as he stepped out into the literary world from Bakersfield way back when. He seemed to have no predecessor in poetry — like a male Athena he leaped fully armed from the head of some extremely made-over Zeus, some dramatic god of sentience, innocence and erotic despair. — Carol Muske-Dukes
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Product Details

  • ISBN-13: 9781889330785
  • Publisher: Sarabande Books
  • Publication date: 4/1/2002
  • Series: Quarternote Chapbook Series Series
  • Edition description: 1ST
  • Edition number: 1
  • Pages: 31
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.10 (d)

Read an Excerpt

Young Marx That man's own life is an object for him. That animals build nests, build dwellings, whereas man contemplates himself in the world that he has created: That you cannot find yourself in your labor because it does not belong to your essential being: That estranged from labor the laborer is self-estranged, alien to himself: That your nature is to labor: That feeling himself fleetingly unbound only when eating, drinking, procreating, in his dwelling and dressing-up, man erects means into sole and ultimate ends: That where he makes what he makes, he is not: That when he makes, he is not: Thus the ground of our self-estrangement. —Marx in 1844, before the solutions that he proposed betrayed him by entering history, before, like Jesus, too many sins were committed in his name.<<BR>d104>
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Table of Contents

For the Twentieth Century 7
Music Like Dirt 9
Young Marx 10
For Bill Nestrick (1940-96) 11
Little Fugue 13
Advice to the Players 14
Stanzas Ending With the Same Two Words 18
The Poem Is a Veil 19
Luggage 20
Hammer 21
Injunction 22
Heart Beat 23
Legacy 24
Lament For the Makers 26
Note 29
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