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The Keep (Kuhl House Poets) Paperback

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Product Details

  • Series: Kuhl House Poets
  • Paperback: 96 pages
  • Publisher: University Of Iowa Press; 1 edition (July 1, 2001)
  • Language: English
  • ISBN-10: 0877457735
  • ISBN-13: 978-0877457732
  • Product Dimensions: 9.1 x 5.7 x 0.3 inches
  • Shipping Weight: 4.8 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,568,302 in Books (See Top 100 in Books)

Editorial Reviews

From Publishers Weekly

"Nothing possessed me/ but the ordinary// strain of distance/ upon natural objects... There was this/ skeleton inside me," observes the speaker in Wilson's neo-pastoral poetry. Spare, condensed grammar and impenetrable nature affirm the stripped-down speaker's estrangement: "River of steel./ River of no one becoming you." When Wilson, head of Spurwink Press, occasionally uses the first-person plural, she deftly confuses the speaker: "We are not waiting?// We are waiting?// We are the red studio?// We come just before the math?" (Sept.)
Copyright 2001 Reed Business Information, Inc.

About the Author

Emily Wilson lives in Portland, Maine, where she is the proprietor of the Spurwink Press, which publishes letterpress editions of poetry books; she graduated from the University of Iowa Writers' Workshop in 1999. The Keep is her first book.

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Most Helpful Customer Reviews

3 of 4 people found the following review helpful By My Friend Tree on December 23, 2004
Format: Paperback
It's been a few years after this book was published, and I still come back to it with the kind of fervency it originally called up in me. Why? Because it's prayer where "No church utters up." Because Wilson rewrites W.C. Williams' dictum, "No ideas but in things," to read "All my material/idea." Because its crush of diction and alliteration-- how the latinate and vernacular are woven together through consonance and assonance--thrills the ear and mind simultaneously: "when you've turned yourself/out I'll come to//perennial/paresthesias//the cosmos all//obviate." Because, in a way unique in contemporary letters, the spiritual, natural and moral all meet here fitfully in "unquiet/country," in a poetry of the natural world that makes nature neither pure solace nor utterly alien, but, much like Wilson's conception of God, it is, heartbreakingly, "Unknown but you are." Because of the uncertainty inherent in this world view, the voice of this book is often "Pinched to the far wrong side of pleasure," caught in the line-break between doubt and faith, observation and emotion--and each time I read the book, I learn from this struggle: "Let the good I am bide a little longer."
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