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Collected Prose
 
 
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Collected Prose [Hardcover]

James Merrill (Author)

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Book Description

October 26, 2004
Following James Merrill’s widely celebrated Collected Poems and Collected Novels and Plays, this volume gives us, most intimately, the man himself and his charmingly straightforward exploration of how he became himself. As much as any poet of our time, Merrill conceived of his work and his life as warp and woof, and the prose collected here (from his juvenilia and occasional pieces through his critical writings to his interviews and memoir) shows how bound up in his craft (itself a recurrent topic) were his readings and reflections, his travels and friendships. Even Merrill’s most devoted readers will be startled anew at the range of his aesthetic concerns and the depth of his knowledge. Dante and Ponge, Cavafy and Montale, Elizabeth Bishop and Wallace Stevens, all figure prominently here, and the volume is shot through with commentary on music, especially opera, and descriptions of the world’s great cities–including New York, Paris, Istanbul, and Kyoto–and their cultural treasures. The volume closes resoundingly with A Different Person, Merrill’s memoir of his young life, in which he travels to Europe to explore the culture, comes of age as a gay man, and faces down his legacy as the son of the renowned financier Charles E. Merrill.

As Merrill remarks to one interviewer here, a poet is “someone choosing the words he lives by.” This volume, a cross section of a singularly complex literary life, showcases the care for verbal nuance and the inimitably varied tones that distinguish this great American writer.

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Editorial Reviews

From Publishers Weekly

"There are after all things to be said for prose ... Yet I persist in seeing it as a mildly nightmarish medium, to which there is no end." Best known for the poetic trilogy he wrote with the guidance of an Ouija board, James Merrill believed that prose lacked the music of poetry. Nonetheless, his own letters and essays are an absolute pleasure—by turns gossipy, wise, pithy, lyrical and amusing. For this gracefully arranged volume, fellow poets McClatchy and Yenser sifted through Merrill’s prodigious output and compiled his final word on just about everything: Elizabeth Bishop, Kyoto, garlic soup, first loves, the art of poetry, the afterlife. At times, the sheer size of the volume is overwhelming, but dipping in and out of it can feel as pleasant as having a drink with the man himself—his tone is so often informal and intimate. Only in the "Interviews" section does the volume become somewhat repetitive, and even there, contributions by Helen Vendler and McClatchy are outstanding; rather than being merely interrogatory, their interviews flow easily into natural conversation. (The one disappointing stretch is a group of three stories, which are not as deft as Merrill’s nonfiction.) McClatchy and Yenser sought out unpublished or obscurely published pieces for this vast collection, making it an especially useful resource for academics and Merrill fans. Whatever the topic, Merrill fixes it with his wry and level gaze and his sly, precise words. In the end, it seems his prose is as fine as his poetry. Photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist

This is the third massive posthumous volume of Merrill's work, following gatherings of his poetry, for which he will be remembered, and his novels and plays. Here in essays and interviews, the range of subjects Merrill dissects may not speak to everyone, yet this collection will be invaluable to anyone who loves the English language. That's because these works provide bottomless access to Merrill's intricate and yet utterly intelligible constructions in pieces that include his citations on the Yale Younger Poets series, a lengthy rumination on how psychotherapy distanced him from his psychologically claustrophobic upbringing, and explanations of his method for composing the great Ouija-inspired The Changing Light at Sandover. Merrill lays himself bare with eloquence, charm, and erudition, and most enlightening are his writings about craft, in which he cogently explains his natural attraction to poetic forms. There is much to treasure here, but also much that is redundant, making this volume more a crucial work of scholarship than an enriching compendium. Max Winter
Copyright © American Library Association. All rights reserved

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