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Overview

Edward Hirsch began writing a column called "Poet’s Choice" in the Washington Post Book World in 2002. This book brings together those enormously popular columns, some of which have been revised and expanded, to present a minicourse in world poetry. Poet’s Choice includes the work of more than one hundred poets from ancient times to the present—among them Sappho, W. B. Yeats, Czeslaw Milosz, Primo Levi, Robert Frost, Pablo Neruda, Amy Lowell, Mark Strand, and many more—and shares them with all of Hirsch’s inimitable enthusiasm and joy. Rich, relevant, and inviting, the book offers us the fruits of a life lived in poetry.

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Overview

Edward Hirsch began writing a column called "Poet’s Choice" in the Washington Post Book World in 2002. This book brings together those enormously popular columns, some of which have been revised and expanded, to present a minicourse in world poetry. Poet’s Choice includes the work of more than one hundred poets from ancient times to the present—among them Sappho, W. B. Yeats, Czeslaw Milosz, Primo Levi, Robert Frost, Pablo Neruda, Amy Lowell, Mark Strand, and many more—and shares them with all of Hirsch’s inimitable enthusiasm and joy. Rich, relevant, and inviting, the book offers us the fruits of a life lived in poetry.

Editorial Reviews

Publishers Weekly
Hirsch's follow-up to his bestselling, NBCC award-winning How to Read a Poem: And Fall in Love with Poetry collects two years' worth of his engaging weekly essay-lettres from the Washington Post Book World. Such a collection is inevitably a miscellany as it ranges from biographic sketches and personal portraits to topical subjects, reviews of new books and eulogies for the recently deceased. The 20th-century giants Yeats, Rilke and Neruda, who served as touchstones in How to Read a Poem, appear alongside such contemporary Americans as Robert Bly, Denise Levertov, Gary Snyder and Dorothea Tanning, and newcomers from Europe, Mexico, the Middle East and Asia. Hirsch also casts back to ancient traditions, although there's a gap between these and modern poets that is filled only occasionally by the likes of the rediscovered John Clare and Giuseppe Belli. Taking over the column early in 2002, Hirsch writes, he felt the burden of discussing poetry in the cultural climate of post-9/11 America. Old themes of grief and loss gain new weight as Hirsch discusses Wallace Stevens's and Mark Strand's approaches and Tom Sleigh's oblique refashioning of Greek and Sumerian verse in "New York American Spell, 2001." Eclectic and idiosyncratic, Hirsch's choices are unified by astute excerpting and keen commentary. (Apr.) Copyright 2006 Reed Business Information.
Library Journal
Hirsch, the author of six collections of poetry and three books of prose and winner of several literary awards, including the National Book Critics Circle Award, comes from a family of Eastern European immigrants. Having grown up surrounded with "the sounds of other people's languages," he instinctively understands the melody, storytelling, and themes in poetry. Originally written as newspaper columns for the Washington Post Book World, the essays collected here (some revised and expanded) exhibit the same knowledge and eclectic taste for poetry that was evident in his best seller, How To Read a Poem: And Fall in Love with Poetry. Hirsch includes the work of more than 130 poets from across the globe and across centuries, with poems from the ancients alongside those of the most contemporary of poets creating a pleasurable introduction to poetry. Using an essay form with stanzas embedded, he makes coherent arguments and offers excellent illustrations of how each work and the human experience are intertwined. A mini-course in world poetry, this accessible, learned, and relevant book is highly recommended for all libraries. [See Prepub Alert, LJ 12/05.]-Pam Kingsbury, Univ. of North Alabama, Florence Copyright 2006 Reed Business Information.
More Reviews (1) Fewer Reviews
Kirkus Reviews
Brief, illuminating journalistic pieces on poetry written for the Washington Post Book World over the last several years by poet and critic Hirsch (The Demon and the Angel, 2001, etc.). For Hirsch, poetry is a conversation: with other poets, with history, with language, with cultures in restless movement. It puts us in touch with our daily doses of suffering, disaffection and alienation, as he notes in the introduction. Most helpfully, these short essays elucidate the life and work of poets little known, and translated with difficulty: e.g., from the German (Ernst Stadler, Nelly Sachs), Russian (Marina Tsvetaeva, Velimir Khlebnikov), Japanese (Ishikawa Takuboku), Serbian (Radmila Lazic), Slovenian (Edvard Kocbek), Hebrew (Aharon Shabtai, Yehuda Amichai) and Arabic (Palestinian Taha Muhammad Ali). Most comprehensively, they delve into Spanish-language poetry, including work by the author's favorites, Pablo Neruda, Miguel Hernandez and Cesar Vallejo (whose compassionate voice holds particular relevance; Hirsch calls the Peruvian "a prophet pleading for social justice"). The collection sheds light on American poets who deserve more readers, such as the solitary George Oppen, and English poets obscure on these shores, such as John Clare and Charlotte Mew. Each of the essays contains excerpts from the poetry in question, although overall the selections are much too short to be satisfying. Some chapters present a theme, such as "The Poet as Mother" or "Sleep and Poetry" or "Baseball," which all seem hasty and slapdash. Most of the final essays are paeans to contemporaries and friends. Slim and scattered, but tasty, even exotic: a good supplement to Camille Paglia's Break, Blow, Burn (2004),which delves more robustly into English-language poetry, and to Michael Schmidt's scholarly The First Poets (2005), which treats the Greeks.

Product Details

  • ISBN-13: 9780151013562
  • Publisher: Houghton Mifflin Harcourt
  • Publication date: 4/3/2006
  • Pages: 448
  • Product dimensions: 6.00 (w) x 9.00 (h) x 1.10 (d)

Meet the Author

Edward Hirsch is the author of six books of poems and three books of prose, among them the national bestseller How to Read a Poem: And Fall in Love with Poetry . He has received the National Book Critics Circle Award, the Prix de Rome, and a MacArthur Fellowship, and is president of the John Simon Guggenheim Memorial Foundation. He lives in New York.

Read an Excerpt

Poet's Choice

By Hirsch, Edward

Harcourt

Copyright © 2006 Hirsch, Edward
All right reserved.
ISBN: 015101356X
Nightingales

spring's messenger, the lovelyvoiced ­nightingale

--Sappho

I wish I'd been on the street in Madrid on that night in 1934 when Pablo Neruda, who was then Chile's consul to Spain, told Miguel Hernandez that he had never heard a nightingale. It is too cold for nightingales to survive in Chile. Hernandez grew up in a goatherding family in the province of Alicante, and he immediately scampered up a high tree and imitated a nightingale's liquid song. Then he climbed up another tree and created the sound of a second nightingale answering. He could have been joyously illustrating Boris Pasternak's notion of poetry as "two nightingales ­dueling."

I once told this story to the writer William Maxwell, and he said that learning how to sing like nightingales in treetops ought to be a requirement for poets. It should be taught, like prosody, in writing programs. The Romantic poets might have agreed: Wordsworth called the nightingale a creature of "fiery heart"; Keats inscribed its music forever in his famous ode ("Thou wast not born for death, immortal bird!"); John Clare observed one assiduously as a boy ("she is a plain bird something like the hedge sparrow in shape and the female Firetail or Redstart in color but more slender then the former and of a redder brownor scorched color then the latter"); and Shelley ­declared:



A poet is a nightingale, who sits in darkness and sings to cheer its ­own solitude with sweet sounds; his auditors are as men entranced by the ­melody of an unseen musician, who feel that they are moved and softened, ­yet know not whence or ­why.



The singing of a nightingale becomes a metaphor for writing poetry here, and listening to that bird--that natural music--becomes a meta­­phor for reading ­it.

One could write a good book about nightingales in poetry. It would begin with one of the oldest legends in the world, the poignant tale of Philomela, that poor ravished girl who had her tongue cut out and was changed into the nightingale, which laments in darkness but nonetheless expresses its story. The tale reverberates through all of Greco­-­Roman literature. Ovid gave it a poignant rendering in Metamorphoses, and it echoed down the centuries from Shakespeare (Titus Andronicus) to Matthew Arnold ("Philomela") and T. S. Eliot ("The Waste ­Land").

One of my favorite poems about "spring's messenger" is by Jorge Luis Borges, the Argentine fabulist, who may never have heard a nightingale, and yet, through poetry, had a lifelong relationship with the unseen ­bird.



To the Nightingale

Out of what secret English summer ­evening

or night on the incalculable ­Rhine,

lost among all the nights of my long ­night,

could it have come to my unknowing ­ear,

your song, encrusted with ­mythology,

nightingale of Virgil and the ­Persians?

Perhaps I never heard you, but my ­life

is bound up with your life, ­inseparably.
"MARGIN: 0in 0in 0pt; tab-stops: 24.0pt"
The symbol for you was a wandering ­spirit

in a book of enigmas. The poet, El ­Marino,

nicknamed you the "siren of the ­forest";

you sing throughout the night of ­Juliet

and through the intricate pages of the ­Latin

and from his pinewoods, Heine, that ­other

nightingale of Germany and ­Judea,

called you mockingbird, firebird, bird of ­mourning.

Keats heard your song for everyone, ­forever.

There is not one among the shimmering ­names

people have given you across the ­earth

that does not seek to match your own ­music,

nightingale of the dark. The Muslim dreamed ­you
nt-family: 'Times New Roman'"
in the delirium of ­ecstasy,

his breast pierced by the thorn of the sung ­rose

you redden with your blood. ­Assiduously

in the black evening I contrive this ­poem,

nightingale of the sands and all the ­seas,

that in exultation, memory, and ­fable,

you burn with love and die in liquid ­song.

(translated by Alastair Reid)

Copyright 2006 by Edward Hirsch

All rights reserved. No part of this publication may be reproduced
or transmitted in any form or by any means, electronic or mechanical,
including photocopy, recording, or any information storage and retrieval
system, without permission in writing from the ­publisher.

Requests for permission to make copies of any part of the work should be
mailed to the following address: Permissions Department, Harcourt, Inc.,
6277 Sea Harbor Drive, Orlando, Florida 32887­-­6777.



Continues...
Excerpted from Poet's Choice by Hirsch, Edward Copyright © 2006 by Hirsch, Edward. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

1 Nightingales (Jorge Luis Borges) 7
2 Gerard Manley Hopkins ("God's grandeur," "Pied beauty") 10
3 Caedmon ("Caedmon's hymn," Denise Levertov's "Caedmon") 13
4 Olympian Odes (Pindar, Bacchylides) 16
5 The Greek anthology (pure pagan) 19
6 Sappho (fragment 31) 22
7 The poet as maker (F. T. Prince) 25
8 The ars poetica (Blaga Dimitrova) 28
9 The bardic order (Eavan Boland) 31
10 Aztec poets (Nezahualcoyotl, Ayocuan Cuetzpaltzin) 34
11 Riddles (Daniel Hoffman, Ella Bat-Tzion, Eytan Eytan) 36
12 Charms (Thomas Campion, Kathy Fagan) 39
13 John Clare ("Lines : 'I am'") 42
14 Christmas poems (Thomas Hardy, Robert Fitzgerald) 47
15 Charlotte Mew ("Rooms," "The call") 50
16 W. B. Yeats ("Cuchulain comforted") 53
17 Rabindranath Tagore (Final poems) 56
18 Giuseppe Belli ("Night of terror," "The bosses of Rome") 59
19 Giuseppe Ungaretti ("In memory of") 62
20 Eugenio Montale ("Sit the noon out ...," "The eel") 65
21 Rainer Maria Rilke ("The panther," "The gazelle") 68
22 Self-portraits (Rainer Maria Rilke, Frank Bidart) 71
23 Ernst Stadler ("The saying") 74
24 Nelly Sachs ("Butterfly") 77
25 Women and war (After every war) 80
26 Max Jacob ("The beggar women of Naples," "The yellow star again") 84
27 Insomnia (Osip Mandelstam, Marina Tsvetaeva) 87
28 Marina Tsvetaeva ("Opened my veins ...") 90
29 Velimir Khlebnikov ("Incantation by laughter," "Russia, I give you ...") 92
30 Joseph Brodsky ("May 24, 1980") 95
31 Czeslaw Milosz ("Gift") 98
32 Adam Zagajewski ("A flame," "Fire," "A quick poem") 102
33 Edvard Kocbek (Nothing is lost) 107
34 Tomaz Salamun (Feast) 110
35 Radmita Lazic (A wake for the living) 113
36 Primo Levi ("Shema") 116
37 Avraham Ben Yitzhak ("Blessed are they who sow and do not reap ...") 119
38 Kadya Molodowsky ("Merciful God") 122
39 Yehuda Amichai ("Letter of recommendation," "My father's Memorial Day") 125
40 Aharon Shabtai (J'Accuse) 128
41 Taha Muhammad Ali ("Abd El-Hadi fights a superpower") 131
42 Venus Khoury-Ghata ("Here there was once a country") 134
43 Protest poetry (Thomas Lux, Saadi Youssef) 137
44 Ishikawa Takuboku (Sad toys) 140
45 Lam Thi My Da, Xuan Quynh ("Garden fragrance," "Night harvest"; "Summer") 143
46 Miguel Hernandez ("My heart can't go on any longer") 146
47 Cesar Vallejo ("The black heralds," "Mass") 149
48 Suffering (Rudolph Muller, Cesar Vallejo) 154
49 Self-naming (Carlos Drummond de Andrade, Cesar Vallejo) 157
50 Pablo Neruda ("Body of a woman") 160
51 Nicanor Parra ("Roller coaster," "I take back everything I've said") 168
52 Alfonsina Storni ("To Eros," "To my lady of poetry") 171
53 Jorge Luis Borges ("The enigmas") 174
54 Octavio Paz ("Between going and staying") 178
55 Julia de Burgos ("Seawall") 183
56 Contemporary Mexican poets (Reversible monuments) 186
57 Sleep and poetry (Mary Ruefle, Maria Negroni) 189
58 Scottish poetry : Norman MacCaig ("Praise of a collie") 192
59 P. K. Page ("The disguises") 195
60 Kathleen Raine ("Spell of creation") 197
61 Wendy Cope ("Waste land limericks") 200
62 Thom Gunn ("Still life") 203
63 Robert Frost and Edward Thomas ("To E. T."; "The owl") 206
64 Agha Shahid Ali ("Arabic") 209
65 Reetika Vazirani ("It's me, I'm not home," "Lullaby") 212
66 Reading (C. K. Williams, Wallace Stevens) 219
67 Birth poems (John Berryman, Lee Upton) 222
68 The poet as mother (Kate Daniels, Kathleen Ossip) 225
69 Allen Grossman ("The runner") 228
70 Stanley Kunitz ("The portrait") 231
71 Childhood (Robert Hayden) 234
72 Naomi Nye (The flag of childhood) 237
73 Grandparents (Lorine Niedecker, Li-Young Lee) 240
74 John Greenleaf Whittier ("Ichabod!") 243
75 Baseball (Richard Hugo) 246
76 The American prose poem (Russell Edson) 249
77 William Carlos Williams ("The banner bearer") 251
78 Amy Lowell ("The taxi") 253
79 George Oppen ("Psalm") 255
80 Yom Kippur (Jacqueline Osherow) 258
81 Psalms (Brooks Haxton) 260
82 Poetry responds to suffering (Wallace Stevens, Mark Strand) 263
83 Kenneth Rexroth ("Delia Rexroth") 266
84 Muriel Rukeyser ("Letter to the front," "The sixth night : waking") 269
85 Dailiness (Randall Jarrell, Marie Howe) 272
86 John Berryman ("Henry's understanding") 275
87 Robert Penn Warren ("After the dinner party") 278
88 Howard Nemerov ("Einstein & Freud & Jack") 281
89 Kenneth Koch (New addresses) 284
90 Swimming (Maxine Kumin, William Stafford) 287
91 Robert Bly (The night Abraham called to the stars) 290
92 Gary Snyder ("Riprap") 292
93 Donald Justice ("The pupil") 295
94 Daniel Hughes ("Too noble") 298
95 Dorothea Tanning (A table of content) 301
96 Jane Mayhall (Sleeping late on judgment day) 304
97 William Matthews ("Grief") 307
98 Vietnam War poems (David Ignatow, Yusef Komunyakaa) 310
99 New York City (Paul Goodman, Deborah Garrison) 313
100 Tom Sleigh ("New York American spell, 2001") 316
101 Thomas James (Letters to a stranger) 319
102 Stan Rice ("Monkey Hill") 323
103 Roland Flint ("Seasonal, 1991," "2-26-91") 326
104 M. Wyrebek ("Night owl") 329
105 Roberta Spear, Ernesto Trejo ("Meditation"; "Some sparrows") 332
106 Peter Everwine ("How it is," "Distance") 335
107 Michael Fried (The next bend in the road) 337
108 Michael Ryan ("God hunger," "Reminder") 340
109 Louise Gluck ("The seven ages") 343
110 Bill Knott ("Goodbye," "The unsubscriber," "Death," "Crux") 346
111 Stuart Dybek (Streets in their own ink) 349
112 Mark Jarman (To the green man) 352
113 Nicholas Christopher ("Haiku," "Tropico") 355
114 Philip Schultz (Living in the past) 358
115 Deborah Digges (Trapeze) 361
116 Susan Stewart (Columbarium) 364
117 Stuart Dischell ("A tenant at will") 367
118 Olena Kalytiak Davis ("Six apologies, Lord") 370
119 Sarah Arvio (Visits from the seventh) 373
120 Dan Chiasson (The afterlife of objects) 376
121 Catherine Barnett (Into perfect spheres such holes are pierced) 379
122 A. Van Jordan (M-A-C-N-O-L-I-A) 382
123 Nebraska poetry (Loren Eiseley, Ted Kooser) 385
124 Basketball poems (B. H. Fairchild) 387
125 Tony Hoagland ("Migration") 390
126 Martin Espada ("The prisoners of Saint Lawrence") 393
127 Young Asian American women poets (Quan Barry, Suji Kwock Kim) 396
128 Birdsong (Ruth Stone) 399
129 Robert Pinsky ("If you could write one great poem, what would it be about?") 402
130 Farewell (Basho, Li Po, Walt Whitman) 404

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