front cover of Draft of a Letter
Draft of a Letter
James Longenbach
University of Chicago Press, 2007

From Second Draft:

What other people learn

From birth,

Betrayal,

I learned late.

My soul perched

On an olive branch

Combing itself,

Waving its plumes.  I said

Being mortal,

I aspire to

Mortal things.

I need you,

Said my soul,

If you’re telling the truth.

Draft of a Letter is a book about belief—not belief in the unknowable but belief in what seems bewilderingly plain. Pondering the bodies we inhabit, the words we speak, these poems discover infinitude in the most familiar places. The revelation is disorienting and, as a result, these poems talk to themselves, revise themselves, fashioning a dialogue between self and soul that opens outward to include other voices, lovers, children, angels, and ghosts. For James Longenbach, great distance makes the messages we send sweeter. To be divided from ourselves is never to be alone. “If the kingdom is in the sky,” says the body to the soul, “Birds will get there before you.” “In time,” says the awakening soul, “I liked my second / Body better / Than the first.” To live, these poems insist, is to arise every day to the strange magnificence of the people and places we thought we knew best. Draft of a Letter is an unsettled and radiant paradiso, imagined in the death-shadowed, birth-haunted middle of a long life.

Praise for Fleet River

“A sensibility this cogent, this subtle and austere is rare; even rarer is its proof that poetry still flows through all things and transforms all things in the process.”—Carol Muske-Dukes, Los Angeles Times Book Review

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front cover of Fleet River
Fleet River
James Longenbach
University of Chicago Press, 2003
Fleet River traces the journey of two travelers through landscapes earthly and otherworldly, following the river as it turns, dips underground, then reemerges unexpectedly as they fall in love with the world, as though for the first time. Mimicking the river's shifting course, the poems revise themselves as the book moves forward, turning against their own best discoveries, proving that the pilgrims' journey is less the discovery of love than the re-creation, poem by poem, of love's possibilities.
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front cover of The Lyric Now
The Lyric Now
James Longenbach
University of Chicago Press, 2020
For more than a century, American poets have heeded the siren song of Ezra Pound’s make it new, staking a claim for the next poem on the supposed obsolescence of the last. But great poems are forever rehearsing their own present, inviting readers into a nowness that makes itself new each time we read or reread them. They create the present moment as we enter it, their language relying on the long history of lyric poetry while at the same time creating a feeling of unprecedented experience. 

​In poet and critic James Longenbach’s title, the word “now” does double duty, evoking both a lyric sense of the present and twentieth-century writers’ assertion of “nowness” as they crafted their poetry in the wake of Modernism. Longenbach examines the fruitfulness of poetic repetition and indecision, of naming and renaming, and of the evolving search for newness in the construction, history, and life of lyrics. Looking to the work of thirteen poets, from Marianne Moore and T. S. Eliot through George Oppen and Jorie Graham to Carl Phillips and Sally Keith, and several musicians, including Virgil Thomson and Patti Smith, he shows how immediacy is constructed through language. Longenbach also considers the life and times of these poets, taking a close look at the syntax and diction of poetry, and offers an original look at the nowness of lyrics.
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front cover of The Resistance to Poetry
The Resistance to Poetry
James Longenbach
University of Chicago Press, 2005
Poems inspire our trust, argues James Longenbach in this bracing work, because they don't necessarily ask to be trusted. Theirs is the language of self-questioning—metaphors that turn against themselves, syntax that moves one way because it threatens to move another. Poems resist themselves more strenuously than they are resisted by the cultures receiving them.

But the resistance to poetry is quite specifically the wonder of poetry. Considering a wide array of poets, from Virgil and Milton to Dickinson and Glück, Longenbach suggests that poems convey knowledge only inasmuch as they refuse to be vehicles for the efficient transmission of knowledge. In fact, this self-resistance is the source of the reader's pleasure: we read poetry not to escape difficulty but to embrace it.

An astute writer and critic of poems, Longenbach makes his case through a sustained engagement with the language of poetry. Each chapter brings a fresh perspective to a crucial aspect of poetry (line, syntax, figurative language, voice, disjunction) and shows that the power of poetry depends less on meaning than on the way in which it means—on the temporal process we negotiate in the act of reading or writing a poem. Readers and writers who embrace that process, Longenbach asserts, inevitably recoil from the exaggeration of the cultural power of poetry in full awareness that to inflate a poem's claim on our attention is to weaken it.

A graceful and skilled study, The Resistance to Poetry honors poetry by allowing it to be what it is. This book arrives at a critical moment—at a time when many people are trying to mold and market poetry into something it is not.
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front cover of Threshold
Threshold
James Longenbach
University of Chicago Press, 1998
Threshold is an extraordinary first collection that explores the shifting spaces between differing states of human experience. James Longenbach's poems dwell on metaphoric gates, doorways, and end points past which our everyday world seems luminous and strange. Technically superb and quietly moving, Threshold resonates with a fresh poetic voice.
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