MARC Record from marc_columbia

LEADER: 03071cam a2200313 a 4500
001 4083062
005 20221027032225.0
008 021104t20032003mau s000 0 eng
010 $a 2002153272
015 $aGBA3-Y7022
020 $a1558494014 (alk. paper)
035 $a(OCoLC)ocm50960721
035 $a(NNC)4083062
035 $a4083062
040 $aDLC$cDLC$dUKM$dC#P$dOrLoB-B
050 00 $aPS3603.A753$bC46 2003
082 00 $a811/.6$221
100 1 $aCarlson, Michael,$d1976-$0http://id.loc.gov/authorities/names/n2002046613
245 10 $aCement guitar /$cMichael Carlson.
260 $aAmherst :$bUniversity of Massachusetts Press,$c[2003], ©2003.
300 $ax, 57 pages ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
505 00 $tA Dozen Thunders Outside Oxford, IA -- $tCaesarea Philippi -- $tGalley-West -- $tBloomington to Columbia -- $tPost October -- $tGargoyle -- $tChristy Mathewson Memorial Stadium -- $tFollow with Me My Plow -- $tNew Music for Pornography -- $tRyan Blazejewski -- $tMerry America -- $tDrum -- $tDeath by Frisbee in the Gardens of Lu -- $tJim Abbott's Arm -- $tManville Hill -- $tBulkhead -- $tCement Guitar -- $tElegy -- $tLove for the Wrong Thing -- $tJack Frost Sugar Refinery -- $tStaying Late at the Offices of Twilight and Isaiah -- $tToday Is the Kamakura Period -- $tKing Vietnam -- $tA Sally into Gold and Crimson Forms -- $tWith Tapers Quenched -- $tDying for Your Country -- $tSermon Notes -- $tMule Posters -- $tNaples -- $tToo Long in the Beach Strew -- $tThe History of Nonchalance -- $tStanzo -- $tHurrah for Rimbaud's Penis -- $tLong Meadow -- $tBoy with a Coney -- $tFor R.E.B. -- $tWhereabouts of the Unrequited Busboy -- $tTrombonium -- $tSpring Night after Rain -- $tThe Fantastic Umbrella Factory --
505 80 $tWhite Flatbush -- $tProspectus -- $tPlans to Escape the Fire -- $tDriving to the Nut Party.
520 1 $a"In this debut collection, Michael Carlson offers poems that combine the concrete and the musical, working with rhythms, structures, images, associational leaps, and an obsession with the sound of words, as opposed to narrative. The book includes four distinct sections. It opens with a sequence of heavily rhythmic poems dealing with the landscape of the Midwest.
520 8 $aThe second section, which includes the title poem, confronts the terrain and people of Carlson's childhood, using long sentences, risky enjambments, and a colloquial and emotional language. The poems in the third section tend to be more fantastic and approach the poetic tradition from unconventional angles. These include a sonnet whose constraint is that each of its fourteen lines contains a piece of armor, a homage to Ezra Pound using the vocabulary of his first book and the syntax of his last, and the theft of two of John Donne's stanza shapes as an outline for an improbable sermon.
520 8 $aIn the final section, Carlson examines the present in a sequence of brief notational poems set in Brooklyn."--BOOK JACKET.
852 00 $boff,glx$hPS3603.A753$iC46 2003