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The Tumbling Box Paperback – October 1, 2009

ISBN-13: 978-0981501048 ISBN-10: 0981501044 Edition: 0th

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$14.95 FREE Shipping on orders over $35. Temporarily out of stock. Order now and we'll deliver when available. We'll e-mail you with an estimated delivery date as soon as we have more information. Your account will only be charged when we ship the item. Ships from and sold by Amazon.com. Gift-wrap available.

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Editorial Reviews

About the Author

Allison Funk is the author of three previous collections of poetry, The Knot Garden, Living at the Epicenter, and Forms of Conversion. She has received the Samuel French Morse Poetry Prize and awards from the Society of Midland Authors, the Poetry Society of America, Poetry, and the National Endowment for the Arts. She teaches at Southern Illinois State University.
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"Ten Windows" by Jane Hirshfield
Hirshfield explores how poetry’s world-making takes place: word by charged word. By expanding what is imaginable and sayable, Hirshfield proposes, poems expand what is possible. See more

Product Details

  • Paperback: 71 pages
  • Publisher: C&R Press (October 1, 2009)
  • Language: English
  • ISBN-10: 0981501044
  • ISBN-13: 978-0981501048
  • Product Dimensions: 6 x 0.2 x 9 inches
  • Shipping Weight: 4 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: #1,244,395 in Books (See Top 100 in Books)

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1 of 1 people found the following review helpful By missouri reader on February 4, 2011
Format: Paperback Verified Purchase
The Tumbling Box begins with an epigraph from Robert Duncan's "My Mother Would Be A Falconress," and its art, woven through like Bending the Bow's in two poetic sequences, is warranted in the Duncanian insistence that words are powers. "Behind the shadow a word is," Funk puts it, "another awaits," and Funk is a master of letting a speaker's power in the poem come from her deep listening to words' "waiting," or solicitations of the more than human field. An ekphrastic sequence on Durer's Mother and Child typology, and a sequence on Houdini, allow her to meditate on these two differing but nonetheless filial magics -- visual representation and sleight of hand. The book is also as shrewd and un-defended an account of motherhood as I know: one feeling it's possible to get from the stories here, small narratives of tragedy and careful late-life stewardship, is that the mother in these poems sees her motherhood in a "false" light that keeps their speaker "true." There's an enormity of faith here then in the myth of poetry; in poetry as a myth of true speech, or utterance that can tell it (the "threads" of Penelope's warp and woof) true.
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