Search Party: Collected Poems

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When William Matthews died of a heart attack in 1997, the day after his fifty-fifth birthday, America lost one of its most important poets, one whose humor and wit were balanced by deep emotion, whose off-the-cuff inventiveness belied the acuity of his verse.
With Search Party, his son Sebastian and his friend and fellow poet Stanley Plumly have brought together a collection drawing from all of Matthews’s previously published work as well as twenty-three never-before-published ...

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Overview

When William Matthews died of a heart attack in 1997, the day after his fifty-fifth birthday, America lost one of its most important poets, one whose humor and wit were balanced by deep emotion, whose off-the-cuff inventiveness belied the acuity of his verse.
With Search Party, his son Sebastian and his friend and fellow poet Stanley Plumly have brought together a collection drawing from all of Matthews’s previously published work as well as twenty-three never-before-published poems. Here are meditations on relationships, work, family life, and, of course, jazz: "I love the smoky libidinal murmur / of a jazz crowd . . . / I like to slouch back / with that I'll-be-here-awhile tilt." Pleasure is abundant in these poems: music, wine, love, and language are, for Matthews, the necessary consolations for life's suffering.
Full of as much wisdom and song as heartbreak and loss, Search Party will bring a wider reading audience to this "poet of experience" and his benedictions of everyday life.

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Editorial Reviews

The New York Times
Like his beloved jazzmen, Matthews tried to make his craft sound easy; sometimes he succeeded too well. As the introduction to Search Party explains, a truly collected Matthews would include more than 800 published poems; this volume has just 165, with 26 previously unpublished in book form and 139 from his 10 earlier books of poetry, including the posthumous ''After All.'' Even in this selection by Sebastian Matthews and Stanley Plumly, the poems (especially those of the 1980's) become disconcerting in their professional fluency: Matthews, like a busy touring musician, completed each performance, and then moved on. — Stephen Burt
Publishers Weekly
With 11 books of verse in less than 30 years, Matthews (1942-1997) established a secure reputation as a witty and trustworthy commentator on a particular bandwidth of his generation. His poems-most of all the touching semi-sonnet sequences of A Happy Childhood (1984)-spanned his own experience, from an Ohio small town to Manhattan literary life, with attentive excursions from Maine to Hawaii. Matthews had a way with quotable sayings: "Is love the reward, or the test itself?" His unpretentious free verse and his all-American topics recall slightly older poets such as Philip Levine, Donald Hall and Matthews's friend Gerald Stern. His work stands out, however, for his commitment to jazz, whose giants (most of all Charles Mingus) Matthews commemorates and imitates in off-kilter lines, most of all in 1989's Blues if You Want : "Music's only secret is silence," he wrote there, "It's time/ to play, time to tell whatever you know." His sudden death left a cluster of shocked admirers (including many literary gatekeepers), a posthumous manuscript (After All, 1998) and many uncollected poems. Maryland poet Plumly (Now That My Father Lies Down Beside Me) and Matthews's son Sebastian (whose memoir Norton will also release in January) have teamed up to produce what is, despite its title, not a complete poems but an attractive selection, what Plumly deems "the best of" this wry and likable poet's work. (Jan.) Copyright 2003 Reed Business Information.
Library Journal
It's a real tragedy to have lost Matthews in 1997 at the relatively young age of 55, but at least we have his poems as consolation. There was always an edge beneath his insouciance, as evidenced by this magisterial collection. (LJ 1/04) Copyright 2005 Reed Business Information.
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Product Details

  • ISBN-13: 9780618350070
  • Publisher: Houghton Mifflin Harcourt
  • Publication date: 1/20/2004
  • Edition description: None
  • Pages: 336
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.81 (d)

Meet the Author

William Matthews won the National Book Critics Circle Award in 1995 and the Ruth Lilly Award of the Modern Poetry Association in 1997. Born in Cincinnati in 1942, he was educated at Yale University and the University of North Carolina. At the time of his death in 1997, he was a professor of English and director of the writing program at the City University of New York.

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Read an Excerpt

INTRODUCTION

The poems in this collection represent the best of William Matthews’s ten original books of poetry, almost thirty years’ worth, beginning in 1970 and including the posthumous After All, 1998. There are some hundred and sixty- five poems here, twenty-six of which are from work previously unpublished in a book. In the course of his remarkable career, Matthews placed in various magazines—from the ephemeral to The Atlantic Monthly and The New Yorker—more than eight hundred poems. He was prolific, but he was also selective. When it came time to assemble a new volume, he was severe. Either a poem played in concert with the concept of the whole manuscript or it didn’t. Fewer than half the poems he wrote made it into books.
With the help of Michael Collier, Houghton Mifflin’s poetry consultant, and Peter Davison, Matthews’s longtime friend and editor, Sebastian Matthews and I have followed the author’s model in producing a collection we feel he would be proud of, a selection he himself might have made. Matthews died on November 12, 1997, the day after his fifty-fifth birthday. He had, just days before, sent off the completed manuscript of After All, in accordance with a creative schedule that presented a new book of poetry every three years. Added to this calendar were any number of critical essays, commentaries, memoir pieces, reviews, and interviews, many of which have been gathered into Curiosities (1989) and The Poetry Blues (2001).
Matthews’s marvelous letters make up yet another category. His correspondence with the world, through his masterly poems and graceful prose, was rich and varied; his correspondence with his friends and acquaintances was loving, engaging, and always on point. All of Matthews’s writing, regardless of genre, reveals the man, both the persona he wished to disclose and the person he almost successfully kept to himself. His brilliance and volubility are inseparable from his reserve—the tension between them is the core dynamic of his kinetic mind and demanding language. His announced self and secret self parley not only the precision of his diction and imagination but the spoken music of his sentence. His poetry, like his prose, can seem impromptu, when in fact it is written in astute, rehearsed internal conversation within a form itself being addressed. Matthews’s buoyant feel for analysis, his restless curiosity, his refreshing range of knowledge, his quirky, often sardonic take on memory, his insistence on the invisibility of his craft—these elements and more set him apart as a maker.
To paraphrase, however, is only to suggest Matthews’s depth and resonance as a poet. The implicit chronology of this careful selection of his poems conjures a narrative of work that moves from the imagistic, aphoristic seventies to the more directly autobiographical eighties to the more meditative, introspective nineties. All the while the poems grow in size, texture, complexity, darkness, and acceptance of the given situation—or, at the least, a reluctant reconciliation. The full heart behind the poems becomes more and more available to the luminous mind making them. Too often honored for his wit alone, the Matthews throughout these pages is a poet of emotional resolve, enormous linguistic and poetic resources, and, most especially, a clarifying wisdom. Here he is reinforced as a writer of responsibility to form and tradition as well as irony and idiom, whether that heritage refers to literature, jazz, and epicurean delight or elegiac testimonies for those he has loved.
Reading Matthews you get the impression that his insights and images and the syntax created by his inevitable ear have traveled great distances to the page. They have. They arrive distilled from a metaphysics in which thought is not only feeling but a coherent language, a language that must be mastered before it can be made. “Snow Leopards at the Denver Zoo,” from the seventies, is an early example.

Snow Leopards at the Denver Zoo

There are only a hundred or so snow leopards alive, and three of them here. Hours I watch them jump down and jump up, water being poured. Though if you fill a glass fast with water, it rings high to the top, noise of a nail driven true. Snow leopards land without sound, as if they were already extinct.

If I could, I’d sift them from hand to hand, like a fire, like a debt I can count but can’t pay.
I’m glad I can’t. If I tried to take loss for a wife, and I do, and keep her all the days of my life, I’d have nothing to leave my children.
I save them whatever I can keep and I pour it from hand to hand.

The connections in this poem easily surpass discrete metaphor to become the total medium—submersion——through which they move: from the snow leopards to water to snow to fire to consuming debt to loss; from jumping to pouring to filling to counting to pouring . . . the concentric circles derive from and return directly to their common center of gravity in a flow and speed almost preternatural. Then there is the touch of the “nail driven true,” the exquisite understatement of the soundlessness of the leopards, landing “as if they were already extinct,” and the reality of taking “loss for a wife.” The fragility of the poem is also its subject, the balance of saving “whatever I can keep” against the perishability of losing it all. Behind the poem is the certain knowledge—which is a theme in Matthews’s poetry—that it will all, always, slip through our hands. This genius for turning the most familiar materials into something extraordinary—both smart and moving at once—comes from his gift for making connections and exploiting them to the limit their language will bear.
For all the normal changes in his writing, as Matthews matured he never surrendered his talent for the fragile, mortal moment that quickens the feel of things. At times his tone may have sharpened—he loved Byron as much as he loved Martial—but he never gave in to the fragmentary, the broken, the piecemeal hard emotion. He was continually a writer of the controlled but complete embrace. I think the soul of his work is closer to the toughness and sweetness of Horace, to the passions of mind of Coleridge, and to the nocturnal blues melancholy of all those jazzmen he revered. He grew up in Ohio, within the margins of both country and small city, pastoral and postwar urban. His father worked for the Soil Conservation Service. He rode a bike, had a newspaper route (the Dayton Daily News), went to the county fair, played baseball and basketball, moved back to Cincinnati (his birthplace), then later to a larger, eastern, Ivy League world. A not uncommon midwestern American story. Yet he never lost his sense of humor about himself nor forgot where he came from. His complexity combined the Ohioan and the New Yorker, the boy and the man, beautifully in his poetry.
In the transitional sixties, when he was a graduate student in Chapel Hill, Matthews met Russell Banks, also in graduate school and also starting out as a writer. They soon collaborated on what became one of the exceptional small literary magazines of its era, Lillabulero. The collaboration would fade but the friendship would last a lifetime. Matthews’s commitment to the small magazine would not fade. It says everything about him that a good portion of the poems in this collection first appeared in journals of often very short shelf lives. He became one of the premier poets of his generation, yet he remained faithful to the idea of where literature can find its first expression. His democratic instincts never failed him. Matthews was preeminently fair-minded, and this egalitarian spirit informed every part of his personality and permitted him to serve vital roles in American poetry culture at a vital time, from the Poetry Society of America to the National Endowment for the Arts. And his tireless support of younger writers, it goes without saying, began with his superb teaching.
It is still difficult, for many of his friends and admirers, to believe that he is gone. The poems represented here are alive in ways and at depths that most poetry can at best aspire to. The intimacy is never too familiar, the conversation never too friendly, the imagination never too busy, the wit never too sterling. The fault lines of heartbreak are everywhere, yet they map an intact emotion. Every gesture, every turn, every reverse is guided and governed by a classicism that values moderation, generosity, and, at just the right moment, an utter truth. Timing, indeed, is essential to Matthews’s internal music: he knows just when to smile, when to open the window, when to change the pace, and when the last line is the last line. And he knows he knows, without display. Reading this collection, front to back or intermittently at leisure, we love his mind, we celebrate the skill that lifts the quotidian to meaning. And we love, even more, the man whose life was so much at stake in the words.
STANLEY PLUMLY

Copyright © 2004 by Sebastian Matthews and Stanley Plumly. Introduction copyright © 2004 by Stanley Plumly. Reprinted by permission of Houghton Mifflin Company.

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Table of Contents

CONTENTS

Introduction by Stanley Plumly · xiii

Ruining the New Road

The Search Party · 3 Psychoanalysis · 5 Blues for John Coltrane, Dead at 41 · 6 Coleman Hawkins (d. 1969), RIP · 7 Jealousy · 8 Moving · 10 Lust · 11 Faith of Our Fathers · 12 Why We Are Truly a Nation · 13 On Cape Cod a Child Is Stolen · 14 Driving All Night · 15 Oh Yes · 16 Old Girlfriends · 17 What You Need · 18 Wehlener Sonnenuhr Auslese 1959 · 19 Yes! · 20

Sleek for the Long Flight

Directions · 23 Sleeping Alone · 24 Driving Alongside the Housatonic River Alone on a Rainy April Night · 25 Another Beer · 26 Night Driving · 28 The Needle’s Eye, the Lens · 29 An Egg in the Corner of One Eye · 30 The Cat · 31 Talk · 34 La Tâche 1962 · 35 Snow · 36 Sleep · 38 Letter to Russell Banks · 40

Sticks & Stones

The Portrait · 45 Mud Chokes No Eels · 46 Beer after Tennis, 22 August 1972 · 47 Bring the War Home · 48 The Waste Carpet · 49 Sticks & Stones · 54

Rising and Falling

Spring Snow · 59 Moving Again · 60 Snow Leopards at the Denver Zoo · 62 The News · 63 Strange Knees · 64 Living Among the Dead · 65 Left Hand Canyon · 67 In Memory of the Utah Stars · 69 Bud Powell, Paris, 1959 · 71 Listening to Lester Young · 72 The Icehouse, Pointe au Baril, Ontario · 73 The Mail · 75 Taking the Train Home · 76 Waking at Dusk from a Nap · 79 In Memory of W. H. Auden · 81 Nurse Sharks · 83 Long · 85

Flood

New · 89 Cows Grazing at Sunrise · 90 Housework · 91 Bystanders · 92 Twins · 94 Our Strange and Lovable Weather · 96 Descriptive Passages · 98 Good Company · 100 School Figures · 102 Pissing off the Back of the Boat into the Nivernais Canal · 104 The Penalty for Bigamy Is Two Wives · 106 Bmp Bmp · 107 Nabokov’s Death · 109 On the Porch at the Frost Place, Franconia, NH · 111

Uncollected Poems (1967–1981)

The Cloud · 115 Eternally Undismayed Are the Poolshooters · 120 The Drunken Baker · 122 Leaving the Cleveland Airport · 123 Dancing to Reggae Music · 124 Gossip · 126 Iowa City to Boulder · 127 Lions in the Cincinnati Zoo · 128 A Walk with John Logan, 1973 · 129 Clearwater Beach, Florida, 1950 · 130 Jilted · 132

A Happy Childhood

Good · 135 Sympathetic · 139 Whiplash · 140 Bad · 143 The Psychopathology of Everyday Life · 147 Loyal · 149 A Happy Childhood · 150 Civilization and Its Discontents · 156 Familial · 158 Right · 159 The Theme of the Three Caskets · 163 Masterful · 166 An Elegy for Bob Marley · 167 Wrong · 169

Foreseeable Futures

Fellow Oddballs · 175 April in the Berkshires · 176 Photo of the Author with a Favorite Pig · 177 The Accompanist · 178 Herd of Buffalo Crossing the Missouri on Ice · 180 Caddies’ Day, the Country Club, a Small Town in Ohio · 181 Dog Life · 183 Recovery Room · 184 Black Box · 186 Vasectomy · 187

Blues If You Want

Nabokov’s Blues · 191 39,000 Feet · 194 Mood Indigo · 196 Housecooling · 198 Homer’s Seeing-Eye Dog · 199 The Blues · 201 Moonlight in Vermont · 203 Smoke Gets in Your Eyes · 205 School Days · 207 Little Blue Nude · 208 Onions · 212 Straight Life · 214

Time & Money

Grief · 221 The Wolf of Gubbio · 222 Mingus at The Showplace · 223 The Bear at the Dump · 224 My Father’s Body · 226 Time · 228 President Reagan’s Visit to New York, October 1984 · 232 Mingus at The Half Note · 233 Men at My Father’s Funeral · 235 The Rookery at Hawthornden · 236 Note Left for Gerald Stern in an Office I Borrowed, and He Would Next, at a Summer Writers’ Conference · 238 Cheap Seats, the Cincinnati Gardens, Professional Basketball, 1959 · 240 The Rented House in Maine · 241 Mingus in Diaspora · 243 Tomorrow · 245 Money · 247 The Generations · 251 Cancer Talk · 253 A Night at the Opera · 254

Uncollected Poems (1982–1997)

Another Real Estate Deal on Oahu · 259 Slow Work · 261 E lucevan le stelle · 262 Portrait of the Artist as a Young Clarinetist · 263 Debt · 264 Condoms Then · 265 Condoms Now · 266 Phone Log · 267 Driving Through the Poconos, Route 80, 1:30 A.M., Snow · 268 The Buddy Bolden Cylinder · 269 The Memo · 270 Grandmother Talking · 271 Grandmother, Dead at 99 Years and 10 Months · 272 Names · 274 I Let a Song Go out of My Heart · 276

After All

Mingus in Shadow · 279 Rescue · 280 Truffle Pigs · 282 Manners · 283 Promiscuous · 285 Sooey Generous · 287 Oxymorons · 290 Dire Cure · 291 Umbrian Nightfall · 295 The Cloister · 296 A Poetry Reading at West Point · 297 People Like Us · 299 Frazzle · 300The Bar at the Andover Inn · 301 Big Tongue · 302 Bucket’s Got a Hole in It · 305 Misgivings · 306 Care · 307

Index of Titles · 308

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First Chapter

INTRODUCTION

The poems in this collection represent the best of William Matthews's ten
original books of poetry, almost thirty years' worth, beginning in 1970 and
including the posthumous After All, 1998. There are some hundred and sixty-
five poems here, twenty-six of which are from work previously unpublished in
a book. In the course of his remarkable career, Matthews placed in various
magazines— from the ephemeral to The Atlantic Monthly and The New
Yorker—more than eight hundred poems. He was prolific, but he was also
selective. When it came time to assemble a new volume, he was severe.
Either a poem played in concert with the concept of the whole manuscript or
it didn't. Fewer than half the poems he wrote made it into books.
With the help of Michael Collier, Houghton Mifflin's poetry
consultant, and Peter Davison, Matthews's longtime friend and editor,
Sebastian Matthews and I have followed the author's model in producing a
collection we feel he would be proud of, a selection he himself might have
made. Matthews died on November 12, 1997, the day after his fifty-fifth
birthday. He had, just days before, sent off the completed manuscript of After
All, in accordance with a creative schedule that presented a new book of
poetry every three years. Added to this calendar were any number of critical
essays, commentaries, memoir pieces, reviews, and interviews, many of
which have been gathered into Curiosities (1989) and The Poetry Blues
(2001).
Matthews's marvelous letters make up yet another category. His
correspondence with the world, through his masterly poems and graceful
prose, was rich and varied; his correspondence with his friends and
acquaintances was loving, engaging, and always on point. All of Matthews's
writing, regardless of genre, reveals the man, both the persona he wished to
disclose and the person he almost successfully kept to himself. His brilliance
and volubility are inseparable from his reserve—the tension between them is
the core dynamic of his kinetic mind and demanding language. His
announced self and secret self parley not only the precision of his diction and
imagination but the spoken music of his sentence. His poetry, like his prose,
can seem impromptu, when in fact it is written in astute, rehearsed internal
conversation within a form itself being addressed. Matthews's buoyant feel for
analysis, his restless curiosity, his refreshing range of knowledge, his quirky,
often sardonic take on memory, his insistence on the invisibility of his craft—
these elements and more set him apart as a maker.
To paraphrase, however, is only to suggest Matthews's depth and
resonance as a poet. The implicit chronology of this careful selection of his
poems conjures a narrative of work that moves from the imagistic, aphoristic
seventies to the more directly autobiographical eighties to the more
meditative, introspective nineties. All the while the poems grow in size,
texture, complexity, darkness, and acceptance of the given situation—or, at
the least, a reluctant reconciliation. The full heart behind the poems becomes
more and more available to the luminous mind making them. Too often
honored for his wit alone, the Matthews throughout these pages is a poet of
emotional resolve, enormous linguistic and poetic resources, and, most
especially, a clarifying wisdom. Here he is reinforced as a writer of
responsibility to form and tradition as well as irony and idiom, whether that
heritage refers to literature, jazz, and epicurean delight or elegiac testimonies
for those he has loved.
Reading Matthews you get the impression that his insights and
images and the syntax created by his inevitable ear have traveled great
distances to the page. They have. They arrive distilled from a metaphysics in
which thought is not only feeling but a coherent language, a language that
must be mastered before it can be made. 'Snow Leopards at the Denver
Zoo,' from the seventies, is an early example.

Snow Leopards at the Denver Zoo

There are only a hundred or so
snow leopards alive, and three
of them here. Hours I watch them jump
down and jump up, water being
poured. Though if you fill a glass
fast with water, it rings high to the top,
noise of a nail driven true. Snow
leopards land without sound,
as if they were already extinct.

If I could, I'd sift them
from hand to hand, like a fire,
like a debt I can count but can't pay.
I'm glad I can't. If I tried to
take loss for a wife, and I do,
and keep her all the days of my life,
I'd have nothing to leave my children.
I save them whatever I can keep
and I pour it from hand to hand.

The connections in this poem easily surpass discrete metaphor to
become the total medium—submersion—through which they move: from the
snow leopards to water to snow to fire to consuming debt to loss; from
jum to pouring to filling to counting to pouring . . . the concentric circles
derive from and return directly to their common center of gravity in a flow and
speed almost preternatural. Then there is the touch of the 'nail driven true,'
the exquisite understatement of the soundlessness of the leopards,
landing 'as if they were already extinct,' and the reality of taking 'loss for a
wife.' The fragility of the poem is also its subject, the balance of
saving 'whatever I can keep' against the perishability of losing it all. Behind
the poem is the certain knowledge—which is a theme in Matthews's poetry—
that it will all, always, slip through our hands. This genius for turning the most
familiar materials into something extraordinary—both smart and moving at
once—comes from his gift for making connections and exploiting them to the
limit their language will bear.
For all the normal changes in his writing, as Matthews matured he
never surrendered his talent for the fragile, mortal moment that quickens the
feel of things. At times his tone may have sharpened— he loved Byron as
much as he loved Martial—but he never gave in to the fragmentary, the
broken, the piecemeal hard emotion. He was continually a writer of the
controlled but complete embrace. I think the soul of his work is closer to the
toughness and sweetness of Horace, to the passions of mind of Coleridge,
and to the nocturnal blues melancholy of all those jazzmen he revered. He
grew up in Ohio, within the margins of both country and small city, pastoral
and postwar urban. His father worked for the Soil Conservation Service. He
rode a bike, had a newspaper route (the Dayton Daily News), went to the
county fair, played baseball and basketball, moved back to Cincinnati (his
birthplace), then later to a larger, eastern, Ivy League world. A not uncommon
midwestern American story. Yet he never lost his sense of humor about
himself nor forgot where he came from. His complexity combined the Ohioan
and the New Yorker, the boy and the man, beautifully in his poetry.
In the transitional sixties, when he was a graduate student in
Chapel Hill, Matthews met Russell Banks, also in graduate school and also
starting out as a writer. They soon collaborated on what became one of the
exceptional small literary magazines of its era, Lillabulero. The collaboration
would fade but the friendship would last a lifetime. Matthews's commitment
to the small magazine would not fade. It says everything about him that a
good portion of the poems in this collection first appeared in journals of often
very short shelf lives. He became one of the premier poets of his generation,
yet he remained faithful to the idea of where literature can find its first
expression. His democratic instincts never failed him. Matthews was
preeminently fair-minded, and this egalitarian spirit informed every part of his
personality and permitted him to serve vital roles in American poetry culture
at a vital time, from the Poetry Society of America to the National
Endowment for the Arts. And his tireless support of younger writers, it goes
without saying, began with his superb teaching.
It is still difficult, for many of his friends and admirers, to believe
that he is gone. The represented here are alive in ways and at depths
that most poetry can at best aspire to. The intimacy is never too familiar, the
conversation never too friendly, the imagination never too busy, the wit never
too sterling. The fault lines of heartbreak are everywhere, yet they map an
intact emotion. Every gesture, every turn, every reverse is guided and
governed by a classicism that values moderation, generosity, and, at just the
right moment, an utter truth. Timing, indeed, is essential to Matthews's
internal music: he knows just when to smile, when to open the window, when
to change the pace, and when the last line is the last line. And he knows he
knows, without display. Reading this collection, front to back or intermittently
at leisure, we love his mind, we celebrate the skill that lifts the quotidian to
meaning. And we love, even more, the man whose life was so much at stake
in the words.
STANLEY PLUMLY

Copyright © 2004 by Sebastian Matthews and Stanley Plumly. Introduction
copyright © 2004 by Stanley Plumly. Reprinted by permission of Houghton
Mifflin Company.
Read More Show Less

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