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Sea Change

Jorie Graham

Sea Change
RRP: GBP£ 9.95
Discount: 10%
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Price: GBP£ 8.96
Out of Print
Paperback
ISBN: 978 1 857549 84 3
Categories: 21st Century, American, Women
Imprint: Carcanet Poetry
Published: May 2008
216 x 154 x 6 mm
96 pages
Publisher: Carcanet Press
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  • I am listening in this silence that precedes. Forget
                                                   everything, start listening. Tipping point, flash
                                                   point
    convective chimneys in the seas bounded by Greenland. Once there was thunder and also
                                                    salvos at the four corners of the horizon, that was
                                                    war.
    In Hell they empty your hands of sand, they tell you to refill them with dust and try
                                                    to hold in mind the North Atlantic Deep Water…  

                                                                           from ‘Positive Feedback Loop’ by Jorie Graham



    Sea Change is a poetry of the tipping point, when what is lost and damaged in our world and our humanity is forever irrecoverable, when time itself has disintegrated. Jorie Graham, acclaimed as one of America’s most innovative poets, writes in her new collection the words for the ‘silence-that-precedes’ the once-unimaginable future in which the only ways of being human we have ever known, can no longer be sustained. With a luminous formal beauty, Sea Change brings us to the threshold of that terrifying silence and affirms the fragile tenacity of the human essence that binds us to the world. It is poetry as urgent as it is essential.

    Cover painting Peter Sacks, I Remember Nothing, 2006, courtesy of Galerie Piece Unique. Photograph by Didier Morel. Cover design by StephenRaw.com.


    I
    SEA CHANGE
    EMBODIES
    THIS
    GUANTÁNAMO
    UNDERWORLD
    FUTURES

    II
    LATER IN LIFE
    JUST BEFORE
    LOAN
    SUMMER SOLSTICE
    FULL FATHOM
    THE VIOLINIST AT THE WINDOW, 1918

    III
    NEARING DAWN
    DAY OFF
    POSITIVE FEEDBACK LOOP
    BELIEF SYSTEM
    ROOT END
    UNDATED LULLABY
    NO LONG WAY ROUND 
    Jorie Graham was born in New York City in 1950, the daughter of a journalist and a sculptor. She was raised in Rome, Italy and educated in French schools. She studied philosophy at the Sorbonne in Paris before attending New York University as an undergraduate, where she studied filmmaking. She received ... read more
    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)
     '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
    Praise for Jorie Graham '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.'
    The Guardian


     '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.
    'Graham's best book in at least a decade.'
    Publishers Weekly
    'One of the finest poets writing today.'
    John Ashbery
    '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.'
    James Tate
     '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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