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Black Zodiac, by Charles Wright
Download PDF Black Zodiac, by Charles Wright
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In a new anthology of poetry, the author of Chickamauga lyrically contemplates the themes of faith, religion, heritage, and morality.
- Sales Rank: #2167342 in Books
- Published on: 1997-04
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 6.00" w x .75" l,
- Binding: Hardcover
- 85 pages
Amazon.com Review
"Time and light are the same thing somewhere behind our backs," Charles Wright supposes in "Meditation on Form and Measure." That's just one line from one poem in this fine collection, but it goes a long way toward capturing the flavor of the project. These poems are investigations into the Big Truths, but they're carried out with a subtle sense of mischief as well as reverence. Poetry refers to the "sheer wisdom" in Wright's work, and Helen Vendler writes that he "never ceases to astonish."
From Library Journal
In the magisterial opening poem, "Apologia Pro Vita Sua," 1983 National Book Awrd winner Wright claims, "Journal and landscape/ ?Discredited form, discredited subject matter?/ I tried to resuscitate them both, breath and blood,/ making them whole again." It's an apt description of his poetry, which reads like a slightly mad, language-drenched tour of a variety of odd but tantalizingly familiar landscapes (the word comes up constantly): "Midsummer. Irish overcast. Oatmeal-colored sky"; "shank of the afternoon, wan weight-light"; "these few sad stains/ Stuck to the landscape/ December dark"; "Nothing is flat-lit and tabula rasaed in Charlotteville"; and, finally, "Milton paints purple trees. Avery./ And Wolf Kahn too./ I've liked their landscapes." It feels like cheating to write a review that's half quotations, but Wright's luscious jumble of language simply must be experienced first-hand. Along the way he admonishes: "Before you bear witness/ Be sure you have something that calls for a witnessing." These poems bear witness to a rich and contradictory world (told, as it should be, at a slant), and they must be witnessed themselves. Highly recommended.?Barbara Hoffert, "Library Journal"
Copyright 1997 Reed Business Information, Inc.
From Booklist
Wright, poet of the Blue Ridge Mountains and displaced child of the Far East, gathers his muses (saints and artists) around him as he ponders the universe and our puzzle-piece place within it. He writes, "It's all about lonesomeness," but the lushness of his lines makes lonesomeness seem sweet, even noble. Wright finds fresh meaning and comfort in all the traditional tropes--never-ending sky, emptying clouds, and the steady, silent decomposition of all that once lived and that will live again--then leaps beyond the organic and observes, "Time and light are the same thing somewhere behind our backs." And later, "Time and light become one somewhere beyond our future." Wright asks if memories are best kept or lost and how we can identify "the determining moments of our lives." He concludes, finally, that for us, the species of the word, "Description's an element, like air or water." And Wright is, without question, wholly in his element in these gleaming pages. Donna Seaman
Most helpful customer reviews
14 of 16 people found the following review helpful.
Pretty Solipsism
By Paul Frandano
I am new to Wright's work, but in very little time, I felt like an old familiar. Critics will call his subject matter what they will--Wright's characteristic "issues," "concerns," obsessions," "interests," "passions"--and will either praise or damn him for working/reworking/rerereworking related materials. I found many powerful images powerfully rendered, and instances of beautiful writing. Wright is, moreover, a fine aphorist and a cunning dialectician--"What we refuse defines us"--who will appeal to those who toiled to master those difficult authors. That said, overall, Black Zodiac in my estimation falls well short of meriting the almost universal acclaim accorded by the professional poetry fraternity/sorority (it is wholly unoriginal of me to observe that this is a customary rewark bestowed on the work of long persevering colleagues). Wright gives us entirely too much on his personal sacrifice: the impossibility of poetry, the indescribability of a nature and landscapes that surpass our small rhetorical ability to encompass, the hackneyed insistence that "a line of poetry's a line of blood" (Yes, YES! Fight on, regardless of the toll one's fragile psyche must endure), on custodianship of The Word, on the meaninglessness of it all, despite...and still. Come on. I'd like to read more of Charles Wright's work, and will--if only to try to get to the place where Helen Vendler, Harold Bloom, and others of his admirers view him--and I expect to encounter his "characteristic subject matter": landscapes, clouds, ash (and lots of it), -wash, Chinoiserie, light/dark juxtapositions, recollection and loss, and ruminations on meaninglessness and mortality that come knee-high to Philip Larkin's second best writing. But I also expect a payoff in beautifully sculpted phrases and a few aphoristic nuggets.
4 of 4 people found the following review helpful.
Language is the key...
By Sam Rasnake
Charles Wright, while the 20th century was settling down to its own special oblivion, silently has become one of America's most important poets. His love for language is always evident in his writing. I have come to welcome his poetry into my world. I know that before I am through with a Wright poem I will come across a line so perfect I will want to weep. Black Zodiac, in keeping with Wright's upward surge, is a brilliant piece of work. This volume is part 2 of a trilogy he began with Chicamauga. Years from today the world will look upon Wright as, perhaps, America's most important poet and surely will consider Black Zodiac as one of his most important works.
1 of 25 people found the following review helpful.
Charles Wright kills the dead art dead
By A Customer
Precisely what's wrong with most poetry written in the university. P-p-p-painful.
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