Flight
Thoughtful and intelligent, the poems in Flight are still fully embodied, rooted entirely in the senses, and extending Coles's ongoing examination of the big questions: What is the relation of art and science? What are our different ways of knowing, and how do we participate in and understand them? What are the potentials and limitations of perception and intuition? What is the relationship between the perceiver and the perceived, and can the boundaries between them be broken down? And never least, What what does all this tell us about our capacity for love and pleasure, and how does love influence the ways we address the other questions? These poems are deeply engaged with the pleasures of the sensuous, treating thought itself as a sensual activity, as a kind of passion in its own right. William Carlos Williams said, "No ideas but in things"; Coles seems to want to assert that there is no thing—moon, bat, moth, dog, beloved husband—that will not give rise to ideas, and, very often, to pleasure at the same time. More than anything, pleasures are what the poems seek to create and enact—the pleasures of the flesh, yes; and of the mind that is also of the flesh, and that is so present in the poems.
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Flight
Thoughtful and intelligent, the poems in Flight are still fully embodied, rooted entirely in the senses, and extending Coles's ongoing examination of the big questions: What is the relation of art and science? What are our different ways of knowing, and how do we participate in and understand them? What are the potentials and limitations of perception and intuition? What is the relationship between the perceiver and the perceived, and can the boundaries between them be broken down? And never least, What what does all this tell us about our capacity for love and pleasure, and how does love influence the ways we address the other questions? These poems are deeply engaged with the pleasures of the sensuous, treating thought itself as a sensual activity, as a kind of passion in its own right. William Carlos Williams said, "No ideas but in things"; Coles seems to want to assert that there is no thing—moon, bat, moth, dog, beloved husband—that will not give rise to ideas, and, very often, to pleasure at the same time. More than anything, pleasures are what the poems seek to create and enact—the pleasures of the flesh, yes; and of the mind that is also of the flesh, and that is so present in the poems.
17.95 In Stock
Flight

Flight

by Katharine Coles
Flight

Flight

by Katharine Coles

Paperback(1st Edition)

$17.95 
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Overview

Thoughtful and intelligent, the poems in Flight are still fully embodied, rooted entirely in the senses, and extending Coles's ongoing examination of the big questions: What is the relation of art and science? What are our different ways of knowing, and how do we participate in and understand them? What are the potentials and limitations of perception and intuition? What is the relationship between the perceiver and the perceived, and can the boundaries between them be broken down? And never least, What what does all this tell us about our capacity for love and pleasure, and how does love influence the ways we address the other questions? These poems are deeply engaged with the pleasures of the sensuous, treating thought itself as a sensual activity, as a kind of passion in its own right. William Carlos Williams said, "No ideas but in things"; Coles seems to want to assert that there is no thing—moon, bat, moth, dog, beloved husband—that will not give rise to ideas, and, very often, to pleasure at the same time. More than anything, pleasures are what the poems seek to create and enact—the pleasures of the flesh, yes; and of the mind that is also of the flesh, and that is so present in the poems.

Product Details

ISBN-13: 9781597099929
Publisher: Red Hen Press
Publication date: 04/04/2016
Edition description: 1st Edition
Pages: 88
Product dimensions: 5.80(w) x 8.80(h) x 0.40(d)

About the Author

Katharine Coles’s fifth poetry collection, The Earth Is Not Flat, was published by Red Hen Press is 2013. Recent poems and essays have appeared in Virginia Quarterly Review, Poetry, and Crazyhorse. A 2012–13 Guggenheim Fellow, she teaches at the University of Utah.

Table of Contents

I Glass house

Hotel Mercure 13

Refraction 14

Swoon 16

San Marco's Floors 18

Thirty Years with These Lions 19

At Pompeii 21

Metaphysical 22

Less to See, More to Fear 25

Pancake Batfish 26

So Far North 28

Love Note 29

Blue 31

Song at the Museum of Musical Instruments 33

Collector 34

What They Took with Them 35

Hunt 36

The Evidence Is Piling Up 38

The Pocket Inside 39

Glass House 40

Camera Obscura 41

Hagia Sophia 42

Virgil's Tomb 44

Between the Lines 46

II Found objects

Lost In Thought 49

Found Objects 50

Subtraction 51

20 Questions 52

Resolved 54

A Dog in Time 56

The Geometry of Dogs 57

The Body Is No Scientist 59

Good Heart 60

February 14 61

Out like a Lion 63

The Tiger Swims 64

Cutting My Hair 65

Orchid House 66

Hawk 67

Trail Guide 68

Dog Days 70

Heat Wave 71

Fault Line 72

The Thing Is 73

Interiority 74

Cleo at Fourteen 75

Passage 76

All Souls' Night 77

All Souls' Night for Inanimate Objects 78

Sumatran Lilies 79

Eve 80

Winter Solstice 81

Imaginary Numbers 82

Poems 2.0 84

Amen 86

What People are Saying About This

From the Publisher

“There is a remarkable worldly ease to the poems of Katharine Coles’s new collection, Flight. Travel always focuses one’s powers of observation, but Katharine Coles always bring to her work a naturalist’s powers of precise discrimination—her poems are both acute and visionary in their perceptions. Whether writing poems of love to her husband or to the beings around her, Katharine Coles finds a way to make our world new for us, again and again.”

—David St. John

“‘Who says there is no magic in the world?’ writes Katharine Coles in Flight, her stunning new collection of poems. Within these pages you will find a cabinet of luminous wonders, gathered and deftly arranged by a master wordsmith and explorer of ancient worlds, hidden caves, and the intricacies of the human heart. This is an extraordinary book.”

—Mira Bartok, author of The Memory Palace

“From the Pancake batfish to the pocket inside the pocket, Katharine Coles collects exotica and renders it part of the interior landscape. She’s ‘after beauty’ and collects images, objects, forms, words that catch the mind and tongue. And to what end? Hers is not an art of mere accumulation but of creating spaces that accommodate complexity without sacrificing love for the world and for, well, the lover. . . . Poetry is a means to see what kinds of minds our time is creating. This one, suffused equally with song and science, clarity and multiplicity, shows just what kind of wonderful instrument poetry can be for fine-tuning consciousness, for being true to the tension between the limits and reach of knowledge.”

—Alison Hawthorne Deming

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