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3 books match the query 'Robinson, Elizabeth'

cover of Blue Heron

Blue Heron

Elizabeth Robinson

University Press of Colorado, 2013

The poems in Blue Heron delineate a passage through grief and change. Here, personal loss is continuous with threats to other species and landscapes. In response, Robinson has uprooted the terrain of language, “what / bestows itself from / the almost-invisible / and its stain.” If these uprootings are casualties of a poetics seeking to redress imbalance and “pollution,” then they are also opportunities to rethink what can exist in the field of poetic language as “roots also quicken, bruise their plural pronouns, lose tune, / forsake terrain by moving through and on it.” And so Blue Heron links poetic process with organic process, presence with the gap we know as hauntedness. The page is not only a resonant physical field, but also a site of dialogue between human and landscape, between lack and manifestation. If these poems constitute a poetics of loss, they are equally a movement toward a poetics of openness, risk, and renewed balance in which poetry shifts as “a form of weather, a form/of following, falling from the form/as it twists.”
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cover of Reading the Difficulties: Dialogues with Contemporary American Innovative Poetry

Reading the Difficulties

Dialogues with Contemporary American Innovative Poetry

Thomas Fink

University of Alabama Press, 2013

New Strategies for Reading the Most Innovative Poetry of Our Time.

Definitions of what constitutes innovative poetry are innumerable and are offered from every quarter. Some critics and poets argue that innovative poetry concerns free association (John Ashbery), others that experimental poetry is a “re-staging” of language (Bruce Andrews) or a syntactic and cognitive break with the past (Ron Silliman and Lyn Hejinian). The tenets of new poetry abound.

But what of the new reading that such poetry demands? Essays in Reading the Difficulties ask what kinds of stances allow readers to interact with verse that deliberately removes many of the comfortable cues to comprehension—poetry that is frequently nonnarrative, nonrepresentational, and indeterminate in subject, theme, or message.

Some essays in Thomas Fink and Judith Halden-Sullivan’s collection address issues of reader reception and the way specific stances toward reading support or complement the aesthetic of each poet. Others suggest how we can be open readers, how innovative poetic texts change the very nature of reader and reading, and how critical language can capture this metamorphosis. Some contributors consider how the reader changes innovative poetry, what language reveals about this interaction, which new reading strategies unfold for the audiences of innovative verse, and what questions readers should ask of innovative verse and of events and experiences that we might bring to reading it.

 

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cover of Vulnerability Index: Poems

Vulnerability Index

Poems

Elizabeth Robinson

Northwestern University Press, 2026

Poems from the halls of shelters, courthouses, and soup kitchens

During Elizabeth Robinson’s six years working with chronically unhoused people in Boulder, Colorado, her relationships with the community’s most vulnerable deepened—even as they were filtered through a web of paperwork, systems, and strictures. The Vulnerability Index questionnaire is just one such system. Ubiquitous in shelters across America, it is representative of the endless tasks that people living on the street must complete to receive even minor assistance. 

Moving between the local court, jail, shelter, and soup kitchen, Robinson’s poems capture the strange juxtapositions of the intimate, bureaucratic, and absurd that such spaces demand: a frostbite victim wants to share his state-sponsored recovery room with a friend from the street, a domestic violence survivor must change her name and even her social security number, an unhoused activist joins a vigil for another woman only to discover that she is, mistakenly, the person being mourned. Spare yet richly empathetic, Robinson’s verse works to implicate the reader’s own vulnerability on every page.
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