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ISBN: 978 1 857548 20 4
Categories: American, Women
Imprint: Carcanet Poetry
Published: October 2005
216 x 135 x 7 mm
Publisher: Carcanet Press
Come here. Open your eyes. Open your mouth.
The years that enter us are also visitors.
For the host we must make extra accommodations.
As in open your mouth. Become an actor. Act.
What does it mean to be fully present in a human life? How - in the face of the carnage of war, the destruction of the natural world, spiritual oversimplification and reactive fear - does one retain a capacity to be present and responsive? How far does our capacity to be present, to be fully ourselves, depend on our relationship to an 'other' and our understanding of and engagement with otherness itself? What powers lord over us and what do we, as a species, and as souls, lord over?
Jorie Graham, in this her most personal and urgent collection to date, undertakes to explore these questions, often from vantage points geographically and historically 'other'. Many of the poems occur along the coastline known as Omaha Beach in Normandy, and move between visions of that beach during the Allied invasion of Europe (whose code name was Operation Overlord) and the Normandy landscape of beaches, fields, and hedgerows as it is known to the speaker today. This work meditates on our new world, ghosted and threatened by competing descriptions of the past, the future, and what it means to be, as individuals, and as a people, 'free'.
Table of Contents
DAWN DAY ONE
PRAYING (Attempt of June 8 '03)
PRAYING (Attempt of June 6 '03)
PRAYING (Attempt of May 9 '03)
PRAYING (Attempt of June 14 '03)
SPOKEN FROM THE HEDGEROWS
SPOKEN FROM THE HEDGEROWS
SPOKEN FROM THE HEDGEROWS
EUROPE (Omaha Beach 2003)
PRAYING (Attempt of Feb 6 '04)
PRAYING (Attempt of April 19 '04)
Awards won by Jorie Graham Winner, 2017 Wallace Stevens Award for Lifetime Achievement Commended, 2017 Poetry Book Society Recommendation.
(Fast) Winner, 1996 Pulitzer Prize
(The Dream of the Unified Field) Short-listed, 2012 T S Eliot Prize (P L A C E) Short-listed, 2012 Forward Poetry Prize for Best Collection (P L A C E)
'Graham's best book in at least a decade.'
Publishers Weekly Praise for Jorie Graham 'The reason that poets are addicted to poetry and they write it for a lifetime, is because a poem will permit you to go through life and have an experience you can't have by any other means.'
Jorie Graham talking to Ian McMillan on Radio 3's The Verb, 15 December 2017
'Another striking book from Jorie Graham, and one that frequently reaches fever-pitch in its frantic explosion of the lyric mode. Graham's themes in these poems - ranging through sickness, death and environmental crises - would rattle any reader, and her long lines, clamouring fragments and sprawling chorus of voices increase this effect to a dramatic extent. These are urgent, stressed and stressful poems that produce a panicked motion-sickness as you spiral through them. This is an important, desperate and, at times, frightening, book that truly captures the tone of contemporary times.'
The Poetry School Books of the Year 2017
'In FAST, [Graham's] subject is mortality - her own (she was diagnosed with cancer five years ago), her parents', that of intellect and culture (in dementia, in digital overwhelm), that of the planet. It is a collection of sensual poems so urgent that, by the end, they have abandoned traditional beginnings and are physically bunched up on the right-hand side of the page. And through it all, an unwavering, serious belief in the power of poetry, a repeatedly inhabited rejection of Auden's assertion that poetry makes nothing happen.'
'Fast might immerse us in monstrous acts of environmental and political violence, our obsession with progress, money, and our own individualistic, virtual worlds, but what still succeeds is the wish to live on. Perhaps if we were to listen to that wish we might, amongst all the acceleration, stop and think again.'
- The London Magazine
'We should be grateful to Jorie Graham for her own heroics of perception, even if they show up our ordinary insight. If we can't see, with Graham, "the spots where the birds must eventually land", at least we know now where we should be looking.'
Gwyneth Lewis, Times Literary Supplement. 'The poems in Jorie Graham's Sea Change might look unapproachable but they are models of clarity and purity.'
Nicola Smyth, 'Books of the Year', the Independent, 28 December 2008
'One of the finest poets writing today.'
'She is among the most important poets in North American literature today.'
Peyton Brien, University of Toronto, 1995
'Jorie Graham is a poet of staggering intelligence.'
'There is a buoyancy in Graham's poetry, a freshness of vision which is rare in contemporary poetry.'
Roger Caldwell, Times Literary Supplement, 27th June 2003
'After each new book by Graham, I wonder what she will do next. Her courage in remaking her style over the years is exemplary... to read under Graham's powerful impetus is to have one's consciousness, like molten glass, pulled into unforeseen - and sometimes almost unbearable - shapes.'
Helen Vendler, London Review of Books, 23rd January 2003
'...one of our most highly imaginative and innovative poets. Her speculative and sensual poetry echoes an aesthetic and cultural past but is, truly, like nothing we've seen before.'
David St. John, The Los Angeles Times, 1996
'There are erotic poems, elegiac poems, and there are dauntingly difficult, allusive and even impenetrable poems. Throughout there is a powerful, engaging intelligence and an affirming lyric grace.'
Stephen Matterson on The Errancy, in Poetry Ireland Review, vol. 62
'Like all good poets, she illuminates moments, but she is like no one else, neither in her rhythms, nor in her insistence on opening up, scrutinizing, and even reversing our experience of time and space within these moments.'
Stephen Burt, Times Literary Supplement, 17th May 1996
'Graham shows us a future direction in American poetry, and that future is a welcome place.'
The Harvard Review
'A mesmerising American voice; one wants to hear its continuation.'
Helen Vendler, The New Yorker
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