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3 books match the query 'Roberson, Ed'

cover of Bearden's Odyssey: Poets Respond to the Art of Romare Bearden

Bearden's Odyssey

Poets Respond to the Art of Romare Bearden

Edited by Kwame Dawes and Matthew Shenoda, Foreword by Derek Walcott

Northwestern University Press, 2017

Borrowing from Romare Bearden’s aesthetic palette and inspired by his Odysseus series, Bearden’s Odyssey gathers, for the first time, poems from thirty-five of the most revered African diaspora poets in the United States. Poetic echoes come forth in themes of inspiration with historical intersections of one of the greatest visual artists of the twentieth century.
 
The award-winning editors, Kwame Dawes and Matthew Shenoda, assemble an esteemed literary congregation, with original poems by Chris Abani, Rita Dove, Lyrae Van Clief-Stefanon, Ed Roberson, Aracelis Girmay, Yusef Komunyakaa, and more. With a powerful foreword by Nobel laureate Derek Walcott and stunning visual reproductions of select Bearden masterpieces, this anthology fuses art and literature, standing as a testament to Romare Bearden’s power and influence in the contemporary artistic world.
 

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cover of Closest Pronunciation: Poems

Closest Pronunciation

Poems

Ed Roberson

Northwestern University Press, 2013

Northwestern University Press is honored to inaugurate the Drinking Gourd Chapbook Poetry Prize series with Ed Roberson’s Closest Pronunciation. Here is a teacher of poets studying his own assignments, questioning and seeking the generative capacity in looking at and seeing things that ends in the realization of a poem. In a line from the brief poem "Night Writing," from which the chapbook draws its title, he writes, "The word closest in pronunciation / To an ambulance’s siren is ‘wrong.’" The collection as a whole gives voice, often quiet but always profound, to many things overlooked and neglected in culture, nature, and everyday life.

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cover of Voices Cast Out to Talk Us In

Voices Cast Out to Talk Us In

Ed Roberson

University of Iowa Press, 1995

There is no one else like Ed Roberson—certainly there is no other poet like him. His is an oblique, eccentric, totally fascinating talent. Because of these qualities, it may seem that he is difficult to follow—as Ornette Coleman or Gabriel García Márquez or Romare Beardon seems difficult to track at times. But his strength of vision is always evident; the quickness and inclusiveness of his voice can sweep a reader along into new and refreshing areas.
Roberson's poetic moves are not tricks or affected traits. They are artistic and deeply considered techniques. Reading the two basic cycles of this elliptical and intriguing work could be likened to reading Ezra Pound or a more deliberate and lyrically touched Charles Olson, but with an unanchored allusiveness of things largely American taking the place of the Chinese and the Mayan. Roberson creates that rare combination of sophistication and simplicity which defines truly significant poetry. In this new work he makes the variety of our culture dance from his very special viewpoint.
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