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Still, there he is, on any given day,Dove does find certain trends, ranging from "the interpolation of personal chronicles with the larger sweep of events" to "elegies for the passing of heroes, of good times, of innocence." Certainly, more than one therapist pops up here--in, for instance, Pamela Sutton's mesmerizing "There Is a Lake of Ice on the Moon" and in Denise Duhamel's intricate "Incest Taboo" (which is a lot more subtle than its title would give out). This dislocating double sestina's 13 stanzas juggle a fear of birds, a brother's death, alcoholism, familial expectations, and so much more. Set free by the form's constraints--the same end-words must recur in each stanza--this poet uses such phrases as "parrot," swoop," "wrong, "hover," hum," and "mother" to great effect, ironies and tragedies accreting. As Duhamel writes in the contributors' notes: "I felt as though I were doing a strenuous combination of math, crossword puzzles, and particle physics."
talking to ramblers, floribundas, Victorian
perpetuals, as if for beauty and to make us
glad or otherwise for envy and to make us
wish for more--if only to mystify and move us.
Some poems are definitely augmented by their creators' explanations--and their prose is often as eloquent as their verse. Others require none. Yet what threatens to steal the poetic show occurs after these comments. The series wizard, David Lehman, asked past and present guest editors to cite their top 15 20th-century American poems, in alphabetical order. It's impossible not to gravitate to this section and silently argue with some selections, approve others wholeheartedly, discover a few for the first time, and remonstrate over certain absences. How marvelous, if unsurprising, to see so many poets voting for Robert Frost, Elizabeth Bishop (who scores particularly high), and two whom John Hollander wittily terms "the transatlantic problematics," Auden and Eliot. If only Lehman had asked each editor to expound on his or her choices. In this list context, Louise Glück's refusal to "prefer merely fifteen" proves as inspiring as others' elections. Still, it's amusing to watch such poets as Mark Strand, A.R. Ammons, and Lehman himself look for loopholes and stuff the ballot box with also-rans. --Kerry Fried
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Most Helpful Customer Reviews
9 of 9 people found the following review helpful:
5.0 out of 5 stars
Among the Best Bets,
By "katejohns" (Azalea Garden (The Thames)) - See all my reviews
This review is from: The Best American Poetry 2000 (Paperback)
Picking the best involves making bets, and one reason I like this series is the willingness of the editors to make big wagers. This year's volume gives me plenty to like -- including poets I'd not previously encountered (like Linh Dinh, Christopher Edgar, Olena Kalytiak Davis) as well as familiar names (Ammons, Merwin, Wilbur). Any book that can span the gamut from radically chic Michael Palmer on one end to prim Mary Jo Salter on the other is a perfect paradigm of psotmodern values. (Did I really write that?)The concluding section in the book, where the editors of the series going back to John Ashbery pick their favorite poems of the 20th century, is not only fun, it performs an important service in directing attention to great poems easily overlooked. As always I look forward with huge interest to next year's volume. This anthology quickens the appetite for more, always more.
10 of 11 people found the following review helpful:
4.0 out of 5 stars
The Best BAP so far,
This review is from: The Best American Poetry 2000 (Hardcover)
First, to answer the reviewer below as to why no Ashbery, no Ruth Stone: Ashbery has been braindead for years and Ruth Stone is minor, minor, minor, in ambition and in achievement. Not to say that others here won't prove to be minor too, but Dove's anthology is the most stylistically diverse yet(Howard's came close) and its real strength is that instead of including the usual stuff from the usual suspects, she made the effort to find young/emerging poets whose work, taken poem by individual poem, is as interesting if not more so. For example, Olena Kalytiak Davis' poem and Linh Dinh's poem are terrific. No disrespect to the man who revolutionized American poetry--respect, indeed, to the body of his work--but why include rehashed and weaker versions of what he used to write when you can include fresh voices full of energy, pointing forward? Sure, there are plenty of lame poems here, but fewer than usual, and Dove's anthology also feels hugely honest and energetic: she didn't settle for the same old same old but also didn't grind a silly axe. She found what she liked and what she likes is wonderfully wide-ranging. Thanks, Rita!
9 of 10 people found the following review helpful:
4.0 out of 5 stars
Another excellent selection, but lacking something,
By A Customer
This review is from: The Best American Poetry 2000 (Paperback)
I'll admit a bias: I was hoping to see a few of my favorite poets in this year's edition of the Best American Poetry, but was sadly disappointed. No Charles Simic, no Charles Wright, no John Ashbery. But what did make it in this year are certainly great:Mary Oliver's "Work," a long poem contemplating nature (her perennial interest), Susan Wood's "Analysis of the Rose as Sentimental Despair," (the best of many elegies to the late Larry Levis) and Donald Justice's "Ralph: A Love Story." Dove has done an excellent job of including long and short poems alike, and has been fairly representative of the best poets writing and publishing today. Some editors seem to be political in their selections: Adrienne Rich chose none of the "big" names and John Hollander admittedly picked those that were long and/or formal. Another interesting feature of this year's edition is the lists of Best Poems of the Century. Past editors were asked to each give a list of what they felt were the fifteen best American poems of the last 100 years. The results were interesting, with a few editors declining to participate. My choice as best poem from that list: "Self Portrait in a Convex Mirror" by John Ashbery.
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