In The Persistence of Objects Richard Garcia gives us a poetry rich in the improvisational surrealist tradition while still deeply rooted in the humanist tradition—this is sur-realism with heart. A master of radically inventive humor, Garcia also pays attention to structure and form. A core of love poems threads through the book, often in the form of Spanish-style sonnets. Garcia’s poems are rife with surprises and fables that disclose the heart of our humanity with comic irony and tragic poignancy.
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Book Description
In The Persistence of Objects Richard Garcia gives us a poetry rich in the improvisational surrealist tradition while still deeply rooted in the humanist tradition—this is sur-realism with heart. A master of radically inventive humor, Garcia also pays attention to structure and form. A core of love poems threads through the book, often in the form of Spanish-style sonnets. Garcia’s poems are rife with surprises and fables that disclose the heart of our humanity with comic irony and tragic poignancy.
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About the Author
Richard Garcia is the author of three books of poetry: Selected Poems (1972); The Flying Garcias; and Rancho Notorious (BOA Editions, 2001) as well as My Aunt Otilia's Spirits, a bilingual children's book (1978). His poems have been published in more than thirty mainstream and avant-garde literary magazines, including Antioch Review, Colorado Review and Ploughshares.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Best Book of Poetry I've Read in a Long Time,
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This review is from: The Persistence of Objects (American Poets Continuum) (Paperback)
Richard Garcia's new book of poems is unlike any other that that I've read this year. Garcia has always been a powerful and underappreciated poet, with a visionary and mythic imagination and a strange and wonderful combination of lyrical and narrative pleasures. Part of the pleasure of Garcia is how difficult it is to typecast him as a poet, or to predict how a poem will develop. I think this is because although he gives the reader traditional narrative pleasures of plot and character and theme and extraordinary description, he is not a linear poet. This is not to say that he veers off topic, or that he doesn't develop and think the poem through. Rather, he does so in unexpected ways. A number of his poems are structured in a spiral of ever-widening gyres around a topic, which allows his capacious imagination room for endless riffs and swerves. A terrific book. Buy it!
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