| Record ID | marc_columbia/Columbia-extract-20221130-004.mrc:357971574:2524 |
| Source | marc_columbia |
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LEADER: 02524fam a2200337 a 4500
001 1774113
005 20220608232530.0
008 951121s1996 nyu 000 0 eng
010 $a 95049590
020 $a0679446451
035 $a(OCoLC)33819757
035 $a(OCoLC)ocm33819757
035 $9ALJ8856CU
035 $a(NNC)1774113
035 $a1774113
040 $aDLC$cDLC$dNNC$dOrLoB-B
050 00 $aPS3561.I59$bG48 1996
082 00 $a811/.54$220
100 1 $aKinzie, Mary.$0http://id.loc.gov/authorities/names/n81110406
245 10 $aGhost ship :$bpoems /$cMary Kinzie.
250 $a1st ed.
260 $aNew York :$bAlfred Knopf,$c1996.
263 $a9604
300 $aviii, 82 pages ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
505 00 $tThe Bolt --$tEarly December --$tThe Mary Chapel --$tThe View from Nowhere --$tEmblems --$tStrade di Bologna --$tClover Cross --$tThe Advance of Summer --$tBeautiful Days --$tIn the Parking Lot of the Faculty Club --$tCilantro --$tLeaf Poem --$tHave You Seen Me? --$tBaltimore --$tOnly Child --$tTo Her Cat --$tTaffy --$tBrass Box with Cricket --$tAlcaics for My Niece --$tThe Second Bolt --$tTo My Daughter --$tKaleidoscope --$tIn Miniature --$tGlancing Blow --$tRecoil --$tOld Flame --$tBicameron --$tSunday in the Low Countries --$tThe Fan --$tThe House of Mystery --$tFrances --$tTar Roof --$tBye Bye Blackbird --$tGhost Ship.
520 $aIn her fifth collection of poems Mary Kinzie continues to extend her formal reach, drawing out her lines with a quiet daring that reveals an elegiac thread in the most conversational cadences (a good example is her long poem "Cilantro," about erotic attraction). And while continuing to explore complex forms (quatrain, sonnet, ode, sestina) and to find her voice in syllabics, alcaics, and varieties of free verse, she also tries to bring unaccustomed subject matter into her ken.
520 8 $aTo call her themes merely "domestic" or "personal" is to fall short of the sense of elation and dread with which even the gentlest act of attention is performed. Kinzie is only "domestic" in the way Emily Dickinson is, and "personal" with the same severity toward confession that marks the poetry of Louise Bogan - both writers of the sharp, condensed image, to whom she has been compared.
520 8 $aBut unlike them she is also engaged by expansive periods and interwoven sentences in the fashion of meditative poets from Horace to Stevens.
852 00 $bglx$hPS3561.I59$iG48 1996