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Each Happiness Ringed By Lions [Paperback]

Jane Hirshfield (Author)
1.0 out of 5 stars  See all reviews (1 customer review)


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Book Description

March 1, 2005
Jane Hirshfield is a visionary American writer whose poems ask nothing less than what it is to be human. Both sensual meditations and passionate investigations, they reveal complex truths in language luminous and precise. Rooted in the living world, her poems celebrate and elucidate a hard-won affirmation of our human fate. Born of a rigorous questioning of heart, spirit and mind, they have become indispensible to many American readers in navigating their own lives. Hers is a poetry of clarity and hybrid vigour, drawing deeply on English and American traditions but also those of world poetry. The poetries of modern and classical Greece, of Horace and Catullus, of classical China and Japan and Eastern Europe all resonate in Jane Hirshfield's structures of thought and in her sensibilities. Indelibly of our time yet seated in the lineage of poetic discovery, these poems are meant to endure.


Editorial Reviews

Review

'Jane Hirshfield is a poet very close to my heart' - wislawa szymborska 'Jane Hirshfield's poems praise the ceaseless mutability of life as its central splendor...with habits of perception quite different from what our poetry customarily offers' - william matthews 'These poems are at once deeply mature and unfailingly innocent; they are wise without ever being self-aggrandising; they are complex without ever being inaccessible. They are rich with observation that will reveal you to yourself. They are the kind of poems that could - before you even realise it - have quietly changed your life' - pam houston 'Hirshfield's verbal power lies in a stunning physicality and the seductively rich music that such physicality engenders. She writes for readers who have lived a little, that is to say, a lot; who have lost, and grieved, and know how painful the capacity to love can be' - kathleen Norris

About the Author

jane hirshfield was born in 1953 in New York and lives in northern California. This selection draws her five collections Alaya (1982), Of Gravity & Angels (1988), The October Palace (1994), The Lives of the Heart (1997) and Given Sugar, Given Salt (2001). She edited the bestselling anthology Women in Praise of the Sacred (1994), and co-translated The Ink Dark Moon: Poems by Ono No Komachi and Izumi Shikibu (1988) - another bestseller in the States - and, with Robert Bly, Mirabai: Ecstatic Poems (2004). Her own poetry was translated into Polish by Czeslaw Milosz, who also wrote the introduction to her Polish Selected Poems. She has won numerous literary awards.

Product Details

  • Paperback: 256 pages
  • Publisher: Bloodaxe Books (UK) (March 1, 2005)
  • Language: English
  • ISBN-10: 1852246936
  • ISBN-13: 978-1852246938
  • Product Dimensions: 8.4 x 5.4 x 0.8 inches
  • Shipping Weight: 13.4 ounces
  • Average Customer Review: 1.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,880,378 in Books (See Top 100 in Books)

More About the Author

Jane Hirshfield is the author of seven collections of poetry, including the newly released Come, Thief (Knopf, 2011), After (HarperCollins, 2006), which was named a "Best Book of 2006" by The Washington Post, The San Francisco Chronicle, and England's Financial Times; Given Sugar, Given Salt (finalist for the 2001 National Book Critics Circle Award, and winner of the Bay Area Book Reviewers Award), The Lives of the Heart, and The October Palace, as well as a now-classic book of essays, Nine Gates: Entering the Mind of Poetry. She is also the author of The Heart of Haiku, an Amazon Kindle Single exploring the essence of haiku and its 17th-century founding poet, Matsuo Basho, which was named a "Best Kindle Single of 2011."

Hirshfield has also edited and/or co-translated three books collecting the work of poets from the past: The Ink Dark Moon: Love Poems by Komachi & Shikibu, Women of the Ancient Court of Japan, Women in Praise of the Sacred: 43 Centuries of Spiritual Poetry by Women, and Mirabai: Ecstatic Poems.

Hirshfield's other honors include The Poetry Center Book Award; fellowships from the Guggenheim and Rockefeller Foundations, the National Endowment for the Arts, and the Academy of American Poets; Columbia University's Translation Center Award; and the Commonwealth Club of California's California Book Award. Her work has appeared in The New Yorker, The Atlantic, The Nation, The American Poetry Review, Poetry, McSweeney's, Orion, five volumes of The Best American Poetry, and many other publications, and has been featured numerous times on Garrison Keillor's Writers Almanac program, as well as in two Bill Moyers PBS television specials. In fall 2004, Jane Hirshfield was awarded the 70th Academy Fellowship for distinguished poetic achievement by The Academy of American Poets, an honor formerly held by such poets as Robert Frost, Ezra Pound, William Carlos Williams, and Elizabeth Bishop.

Hirshfield's work has been called "passionate and radiant" by the New York Times Book Review, and After was described in the San Francisco Chronicle's Book Review as evidencing "the grasp of a master" and "filled with somber, judiciously lit treasures." A starred review in Booklist describes "poems of exquisite restraint and meticulous reasoning," while a British magazine, Agenda, states, "The poems' realized ambition is wisdom." The Washington Post describes Hirshfield as taking her place in the "pantheon of modern masters of simplicity." Never a full-time academic, Hirshfield has been a visiting professor at UC Berkeley and elsewhere, a member of the Bennington College MFA faculty, and has appeared at writers conferences, literary centers, and festivals both in this country and abroad. Her books have appeared on bestseller lists in San Francisco, Detroit, Canberra, and Krakow.

Jane Hirshfield was born in New York City in 1953 and was a member of the first graduating class at Princeton University to include women. After graduating, she did a year of farm labor in New Jersey before moving west in a Dodge van with tie-dyed curtains. She studied Soto Zen intensively for eight years, including three in monastic practice at Tassajara Zen Mountain Center in the wilderness inland from Big Sur, and received lay ordination in 1979. She has cooked at Greens Restaurant in San Francisco, driven 18-wheel truck, worked as the independent editor of several books that have sold in the millions, and spent four years living without electricity. She now lives in the San Francisco Bay Area in a small white house surrounded by fruit trees, a vegetable garden, lavender, and roses, with scientist Carl Pabo.


 

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0 of 19 people found the following review helpful:
1.0 out of 5 stars California dreaming, April 1, 2011
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This review is from: Each Happiness Ringed By Lions (Paperback)
Poetry by women seems to polarize me; this is the kind that brings me out in hives. Too late I see Hirshfield has edited an anthology of 43 centuries of spiritual verse. Forty. Three. Centuries. Very aging. I'm afraid 'spiritual' isn't in my lexicon, like God (I call it goddiness); even 'love' is problematic as a hold-all term ('need' would be more honest) - sometimes it's just another form of self-regard (parents who 'love' their children can murder them to prevent them being taken away). I'll try and get a handle on my specific literary gripe later if I can bear to (if Szymborska gets her, what's MY problem?); for now let's say too, um, feminine? In the way that macho male swagger or portentousness (later Eliot?) can also repel..

In evidence I cite p116 (describing 'ALL our anxieties and terrors...as they TRULY are')
'Stumbling, delirious bees in the tea-scent of jasmine'
So that's all right then

Later. OK, the problem is that Hirshfield is of that generation who found form vieux jeu. If you reject it on principle (or aren't interested enough to try it) it's easy to slip into vapidity and grandiloquence - form keeps you grounded; and of course it connects you with your forebears, unlike the tribe of 'free expression' amateurs, who put me in mind of kids let loose with a paintbox when they could be doing creative READING! Of course, what counts as 'form' these days is less clearcut than of yore - I would definitely call Ashbery a formal poet, for instance, and the beats adopted no-form AS form - and I suppose it is debatable how far Hirshfield and her ilk retain a sense of craft (obviously a poem has to retain a 'form' of SOME kind!!) - but those wars are thankfully now over; today American poets are comfortable in any guise (while recognising that it IS a choice) and all the better for it. Vive la diversité!
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