{"product_id":"robert-duncan-9780520324862","title":"Robert Duncan","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Includes some of Duncan's finest essays . . . a great help to all readers.\" * CHOICE *\u003cbr\u003e\"\u003ci\u003eThe Collected Later Poetry and Plays\u003c\/i\u003e represents the assured completion of the vital gathering already underway with \u003ci\u003eThe Collected Early \u003c\/i\u003e\u003ci\u003ePoetry \u003c\/i\u003e\u003ci\u003eand \u003c\/i\u003e\u003ci\u003ePlays\u003c\/i\u003e. With these two volumes the canon of Duncan's poetry is fully established and readily available to a broad audience.\" * Bookslut *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003ePreface\u003cbr\u003e \tAcknowledgments\u003cbr\u003e \t\u003cbr\u003e \tIntroduction: Discovery Making\u003cbr\u003e \t\u003cbr\u003e \tThe Opening of the Field (1960)\u003cbr\u003e \tOften I Am Permitted to Return to a Meadow -\u003cbr\u003e \tThe Dance \u003cbr\u003e \tThe Law I Love Is Major Mover \u003cbr\u003e \tThe Structure of Rime I \u003cbr\u003e \tThe Structure of Rime II \u003cbr\u003e \tA Poem Slow Beginning \u003cbr\u003e \tThe Structure of Rime III \u003cbr\u003e \tThe Structure of Rime IV \u003cbr\u003e \tThe Structure of Rime V \u003cbr\u003e \tThe Structure of Rime VI \u003cbr\u003e \tThe Structure of Rime VII \u003cbr\u003e \tThree Pages from a Birthday Book \u003cbr\u003e \tThis Place Rumord to Have Been Sodom \u003cbr\u003e \tThe Ballad of the Enamord Mage \u003cbr\u003e \tThe Ballad of Mrs Noah \u003cbr\u003e \tThe Maiden \u003cbr\u003e \tThe Propositions \u003cbr\u003e \tFour Pictures of the Real Universe \u003cbr\u003e \tEvocation \u003cbr\u003e \tOf Blasphemy \u003cbr\u003e \tNor Is the Past Pure\u003cbr\u003e \tCrosses of Harmony and Disharmony \u003cbr\u003e \tA Poem of Despondencies \u003cbr\u003e \tPoetry, a Natural Thing \u003cbr\u003e \tKeeping the Rhyme \u003cbr\u003e \tA Song of the Old Order \u003cbr\u003e \tThe Question \u003cbr\u003e \tThe Performance We Wait For \u003cbr\u003e \tAt Christmas \u003cbr\u003e \tProofs \u003cbr\u003e \tYes, as a Look Springs to Its Face \u003cbr\u003e \tYes, as a Look Springs to Its Face, \u003cbr\u003e \tA Poem Beginning with a Line by Pindar \u003cbr\u003e \tThe Structure of Rime VIII \u003cbr\u003e \tThe Structure of Rime IX \u003cbr\u003e \tThe Structure of Rime X \u003cbr\u003e \tThe Structure of Rime XI \u003cbr\u003e \tA Storm of White \u003cbr\u003e \tAtlantis \u003cbr\u003e \tOut of the Black \u003cbr\u003e \tBone Dance \u003cbr\u003e \tUnder Ground \u003cbr\u003e \tThe Natural Doctrine \u003cbr\u003e \tThe Structure of Rime XII \u003cbr\u003e \tThe Structure of Rime XIII \u003cbr\u003e \tAnother Animadversion \u003cbr\u003e \tAfter Reading Barely and Widely \u003cbr\u003e \tIngmar Bergman’s Seventh Seal \u003cbr\u003e \tFood for Fire, Food for Thought\u003cbr\u003e \tUncollected Work 1957–1960\u003cbr\u003e \tA Stray Poem (Notes Reading from Rene Fulop-Miller’s The Power and Secrets of the Jesuits)\u003cbr\u003e \tMelville after Pierre\u003cbr\u003e \tSolitude\u003cbr\u003e \tThe Song of the River to Its Shores\u003cbr\u003e \tPre-face\u003cbr\u003e \tI Saw the Rabbit Leap\u003cbr\u003e \tRoots and Branches (1964)\u003cbr\u003e \tRoots and Branches\u003cbr\u003e \tRoots and Branches\u003cbr\u003e \tWhat Do I Know of the Old Lore?\u003cbr\u003e \tNight Scenes\u003cbr\u003e \tA Sequence of Poems for H.D.’s Birthday\u003cbr\u003e \tA Letter\u003cbr\u003e \tNel Mezzo del Cammin di Nostra Vita\u003cbr\u003e \tA Dancing Concerning a Form of Women\u003cbr\u003e \tThe Law\u003cbr\u003e \tApprehensions\u003cbr\u003e \tSonneries of the Rose Cross\u003cbr\u003e \tNow the Record Now Record\u003cbr\u003e \tVariations on Two Dicta of William Blake\u003cbr\u003e \tCover Images\u003cbr\u003e \tCome, Let Me Free Myself\u003cbr\u003e \tRisk\u003cbr\u003e \tFour Songs the Night Nurse Sang\u003cbr\u003e \tStructure of Rime XV\u003cbr\u003e \tStructure of Rime XVI\u003cbr\u003e \tStructure of Rime XVII\u003cbr\u003e \tStructure of Rime XVIII\u003cbr\u003e \tOsiris and Set\u003cbr\u003e \tWindings\u003cbr\u003e \tTwo Presentations\u003cbr\u003e \tAfter a Passage in Baudelaire\u003cbr\u003e \tShelley’s Arethusa Set to New Measures\u003cbr\u003e \tAfter Reading H.D.’s Hermetic Definitions\u003cbr\u003e \tStrains of Sight\u003cbr\u003e \tDoves\u003cbr\u003e \tReturning to the Rhetoric of an Early Mode\u003cbr\u003e \tTwo Entertainments\u003cbr\u003e \tThe Ballad of the Forfar Witches’ Sing\u003cbr\u003e \tA Country Wife’s Song \u003cbr\u003e \tWhat Happened : Prelude\u003cbr\u003e \tA Set of Romantic Hymns\u003cbr\u003e \tThank You for Love\u003cbr\u003e \tFrom The Mabinogion\u003cbr\u003e \tForced Lines\u003cbr\u003e \tA New Poem (for Jack Spicer)\u003cbr\u003e \tSonnet 1\u003cbr\u003e \tSonnet 2\u003cbr\u003e \tSonnet 3\u003cbr\u003e \tAnswering\u003cbr\u003e \tAdam’s Way: A Play upon Theosophical Themes\u003cbr\u003e \tCyparissus\u003cbr\u003e \tA Part-Sequence for Change\u003cbr\u003e \tStructure of Rime XIX\u003cbr\u003e \tStructure of Rime XX\u003cbr\u003e \tStructure of Rime XXI\u003cbr\u003e \tThe Continent\u003cbr\u003e \tUncollected Work 1961–1964\u003cbr\u003e \tA Play with Masks\u003cbr\u003e \tWeaving the Design\u003cbr\u003e \tOld Testament\u003cbr\u003e \tNew Testament\u003cbr\u003e \tBending the Bow (1968)\u003cbr\u003e \tIntroduction \u003cbr\u003e \tSonnet 4 \u003cbr\u003e \tStructure of Rime XXII\u003cbr\u003e \t5th Sonnet \u003cbr\u003e \tSuch Is the Sickness of Many a Good Thing \u003cbr\u003e \tBending the Bow \u003cbr\u003e \tTribal Memories Passages 1\u003cbr\u003e \tAt the Loom Passages 2\u003cbr\u003e \tWhat I Saw Passages 3\u003cbr\u003e \tWhere It Appears Passages 4\u003cbr\u003e \tThe Moon Passages 5\u003cbr\u003e \tThe Collage Passages 6\u003cbr\u003e \tEnvoy Passages 7\u003cbr\u003e \tStructure of Rime XXIII \u003cbr\u003e \tAs in the Old Days Passages 8\u003cbr\u003e \tThe Architecture Passages 9\u003cbr\u003e \tThese Past Years Passages 10\u003cbr\u003e \tShadows Passages 11\u003cbr\u003e \tWine Passages 12\u003cbr\u003e \tStructure of Rime XXIV \u003cbr\u003e \tStructure of Rime XXV \u003cbr\u003e \tReflections\u003cbr\u003e \tThe Fire Passages 13\u003cbr\u003e \tChords Passages 14\u003cbr\u003e \tSpelling Passages 15\u003cbr\u003e \tA Lammas Tiding \u003cbr\u003e \tMy Mother Would Be a Falconress \u003cbr\u003e \tSaint Graal (after Verlaine) \u003cbr\u003e \tParsifal (after Wagner and Verlaine)\u003cbr\u003e \tThe Currents Passages 16\u003cbr\u003e \tMoving the Moving Image Passages 17\u003cbr\u003e \tThe Torso Passages 18\u003cbr\u003e \tThe Earth Passages 19\u003cbr\u003e \tStructure of Rime XXVI: For Kenneth Anger An Illustration Passages 20\u003cbr\u003e \tThe Multiversity Passages 21\u003cbr\u003e \tIn the Place of a Passage 22 \u003cbr\u003e \tBenefice Passages 23\u003cbr\u003e \tOrders Passages 24\u003cbr\u003e \tUp Rising Passages 25\u003cbr\u003e \tThe Chimeras of Gérard de Nerval \u003cbr\u003e \tEl Desdichado (The Disinherited)\u003cbr\u003e \tMyrtho \u003cbr\u003e \tHorus\u003cbr\u003e \tAnteros\u003cbr\u003e \tDelphica \u003cbr\u003e \tArtemis \u003cbr\u003e \tThe Christ in the Olive Grove \u003cbr\u003e \tGolden Lines \u003cbr\u003e \tEarth’s Winter Song \u003cbr\u003e \tMoira’s Cathedral \u003cbr\u003e \tA Shrine to Ameinias \u003cbr\u003e \tNarrative Bridges for Adam’s Way \u003cbr\u003e \tThe Soldiers Passages 26\u003cbr\u003e \tAn Interlude \u003cbr\u003e \tTransgressing the Real Passages 27\u003cbr\u003e \tThe Light Passages 28\u003cbr\u003e \tEye of God Passages 29\u003cbr\u003e \tStage Directions Passages 30\u003cbr\u003e \tGod-Spell \u003cbr\u003e \tEpilogos \u003cbr\u003e \tUncollected Work 1965–1968\u003cbr\u003e \tAt the Poetry Conference: Berkeley after the New York Style\u003cbr\u003e \tWe heard it as a cry. It was the Word.\u003cbr\u003e \tKeeping the War Inside\u003cbr\u003e \tYes I care deeply and yet\u003cbr\u003e \tChristmas Present, Christmas Presence!\u003cbr\u003e \tFrom a Poem by John Ashbery\u003cbr\u003e \tIf I Had Kin\u003cbr\u003e \tGround Work: Before the War (1984)\u003cbr\u003e \tSome Notes on Notation\u003cbr\u003e \tAchilles’ Song \u003cbr\u003e \tAncient Questions \u003cbr\u003e \tA Song from the Structures of Rime Ringing as the Poet Paul Celan Sings\u003cbr\u003e \tDespair in Being Tedious \u003cbr\u003e \tThe Concert Passages 31 (Tribunals) \u003cbr\u003e \tAncient Reveries and Declamations Passages 32 (Tribunals) \u003cbr\u003e \tTransmissions Passages 33 (Tribunals) \u003cbr\u003e \tThe Feast Passages 34 (Tribunals) \u003cbr\u003e \tBefore the Judgment Passages 35 (Tribunals) \u003cbr\u003e \tSanta Cruz Propositions \u003cbr\u003e \tA Glimpse \u003cbr\u003e \tAnd If He Had Been Wrong for Me \u003cbr\u003e \tFor Me Too, I, Long Ago Shipping Out with the Cantos\u003cbr\u003e \tAnd Hell Is the Realm of God’s Self-Loathing \u003cbr\u003e \tChildhood’s Retreat \u003cbr\u003e \tFragments of an Albigensian Rime \u003cbr\u003e \tO! Passages 37\u003cbr\u003e \tBring It Up from the Dark \u003cbr\u003e \tStructure of Rime XXVII \u003cbr\u003e \tStructure of Rime XXVIII: In Memoriam Wallace Stevens\u003cbr\u003e \tOver There\u003cbr\u003e \tThe Museum \u003cbr\u003e \tInterrupted Forms\u003cbr\u003e \tPoems from the Margins of Thom Gunn’s Moly \u003cbr\u003e \tPreface to the Suite \u003cbr\u003e \tThe Moly Suite \u003cbr\u003e \tNear Circe’s House \u003cbr\u003e \tRites of Passage: I \u003cbr\u003e \tMoly\u003cbr\u003e \tRites of Passage: II \u003cbr\u003e \tA Seventeenth Century Suite in Homage to the Metaphysical Genius in English Poetry (1590–1690) \u003cbr\u003e \t1. Love’s a great courtesy to be declared\u003cbr\u003e \t2. Sir Walter Ralegh, What Is Our Life? \u003cbr\u003e \t3. Go as in a dream \u003cbr\u003e \t4. Robert Southwell, the Burning Babe\u003cbr\u003e \t5. “A pretty Babe”—that burning Babe \u003cbr\u003e \t6. George Herbert, Jordan (I) \u003cbr\u003e \t7. George Herbert, Jordan (II)\u003cbr\u003e \t8. These Lines Composing Themselves in My Head as I Awoke Early This Morning, It Being Still Dark, December 16, 1971  Passages 36\u003cbr\u003e \t9. Ben Jonson, Hymenæi: Or the Solemnities of Masque, and Barriers \u003cbr\u003e \t10. John Norris of Bemerton, Hymne to Darkness \u003cbr\u003e \tCoda  \u003cbr\u003e \tDante Études\u003cbr\u003e \tPreface\u003cbr\u003e \tBook One \u003cbr\u003e \tWe Will Endeavor \u003cbr\u003e \tSecondary Is the Grammar \u003cbr\u003e \tA Little Language \u003cbr\u003e \tTo Speak My Mind \u003cbr\u003e \tEverything Speaks to Me \u003cbr\u003e \tIn the Way of a Question \u003cbr\u003e \tSpeech Directed \u003cbr\u003e \tEnricht in the Increment \u003cbr\u003e \tThe Individual Man \u003cbr\u003e \tOf Empire \u003cbr\u003e \tThe Meaning of Each Particular \u003cbr\u003e \tThe Whole Potentiality \u003cbr\u003e \tThe Work \u003cbr\u003e \tThe Household \u003cbr\u003e \tLet Him First Drink of the Fountain \u003cbr\u003e \tAnd Tho They Have No Vowel \u003cbr\u003e \tLetting the Beat Go \u003cbr\u003e \tBook Two \u003cbr\u003e \tA Hard Task in Truth \u003cbr\u003e \tLovely  \u003cbr\u003e \tThe One Rule \u003cbr\u003e \tOur Art but to Articulate \u003cbr\u003e \tIn Nothing Superior \u003cbr\u003e \tEnacted \u003cbr\u003e \tOn Obedience \u003cbr\u003e \tZealous Liberality \u003cbr\u003e \tWe Convivial in What Is Ours! \u003cbr\u003e \tMr. Philip Wicksteed Stumbling into Rime in Prose in Translating Dante’s Convivio \u003cbr\u003e \tGo, My Songs, Even as You Came to Me \u003cbr\u003e \tBook Three \u003cbr\u003e \tMy Soul Was as If Free \u003cbr\u003e \tNor Dream in Your Hearts \u003cbr\u003e \tFor the Sea Is God’s \u003cbr\u003e \tWhere the Fox of This Stench Sulks \u003cbr\u003e \tIn Truth Doth She Breathe Out Poisonous Fumes \u003cbr\u003e \tThen Many a One Sang \u003cbr\u003e \tIn My Youth Not Unstaind \u003cbr\u003e \tAnd a Wisdom as Such \u003cbr\u003e \tFour Supplementary Études \u003cbr\u003e \tOf Memory \u003cbr\u003e \tHers\u003cbr\u003e \tI Too Trembling \u003cbr\u003e \tBut We, to Whom the World Is \u003cbr\u003e \tThe Missionaries Passages\u003cbr\u003e \tThe Torn Cloth \u003cbr\u003e \tSongs of an Other \u003cbr\u003e \tEmpedoklean Reveries Passages\u003cbr\u003e \tJamais Passages\u003cbr\u003e \tAn Interlude of Winter Light \u003cbr\u003e \t“Eidolon of the Aion” \u003cbr\u003e \tThe Presence of the Dance{ths}\/{ths}The Resolution of the Music \u003cbr\u003e \tCirculations of the Song \u003cbr\u003e \tUncollected Work 1969–1982 \u003cbr\u003e \tO tree of lights! tree of colors\u003cbr\u003e \tChildless\u003cbr\u003e \tAfter Shakespeare’s Sonnet 76\u003cbr\u003e \tSecond Take on Shakespeare’s Sonnet 76\u003cbr\u003e \tShe\u003cbr\u003e \tSomething Is Moving\u003cbr\u003e \tA Fantasy Piece for Helen Adam\u003cbr\u003e \tFeb. 22, 1973\u003cbr\u003e \tI have{ths}\/{ths}nothing to go on\u003cbr\u003e \tA Prepucal Face for Nigel Roberts\u003cbr\u003e \tJohnny’s Thing\u003cbr\u003e \tAn Epithalamium\u003cbr\u003e \tPoe et Cie\u003cbr\u003e \tLet Me Join You Again This Morning, Walt Whitman\u003cbr\u003e \tGround Work II: In the Dark (1987)\u003cbr\u003e \tAn Alternate Life \u003cbr\u003e \tIn the South \u003cbr\u003e \tHomecoming \u003cbr\u003e \tSupplication \u003cbr\u003e \tThe Quotidian \u003cbr\u003e \tTo Master Baudelaire\u003cbr\u003e \tToward His Malaise \u003cbr\u003e \tAmong His Words \u003cbr\u003e \tThe Face \u003cbr\u003e \tAt Cambridge an Address to Young Poets Native to the Land of My Mothertongue\u003cbr\u003e \tLe Sonnet Où Sonne la Sonnette dès Dernières Jours Toujours Fait Son Retour\u003cbr\u003e \tPour Souffrir l’Envie Jusqu’à l’Amour en Vie \u003cbr\u003e \tSets of Syllables, Sets of Words, Sets of Lines, Sets of Poems Addressing: Veil, Turbine, Cord, \u0026amp; Bird \u003cbr\u003e \tPreliminary Exercise\u003cbr\u003e \tNotes during a Lecture on Mathematics\u003cbr\u003e \tThe Recall of the Star Miraflor\u003cbr\u003e \tThe Naming of the Time Ever \u003cbr\u003e \tI Pour Forth My Life from This Bough \u003cbr\u003e \tThe Turbine \u003cbr\u003e \tWhat the Sonnet Means the Sonnet Means \u003cbr\u003e \tFor the Assignment of the Spirit \u003cbr\u003e \tThe Cherubim (I) \u003cbr\u003e \tThe Cherubim (II) \u003cbr\u003e \tStyx \u003cbr\u003e \tThe Sentinels \u003cbr\u003e \tAn Eros\/Amor\/Love Cycle \u003cbr\u003e \tEt Passages\u003cbr\u003e \tIn Wonder Passages\u003cbr\u003e \tConstructing the Course of a River in the Pyrenees \u003cbr\u003e \tIn Waking \u003cbr\u003e \tFrom the Fall of 1950, December 1980 \u003cbr\u003e \tTwo Sets of Tens: Derived from Confucian Analects \u003cbr\u003e \tRegulators Set of Passages\u003cbr\u003e \tThe Dignities Passages\u003cbr\u003e \tThe First Passages\u003cbr\u003e \tStimmung Passages\u003cbr\u003e \tEnthralld Passages\u003cbr\u003e \tQuand le Grand Foyer Descend dans les Eaux Passages\u003cbr\u003e \tIn Blood’s Domaine Passages\u003cbr\u003e \tAfter Passage Passages\u003cbr\u003e \tWith In Passages\u003cbr\u003e \tSeams Passages\u003cbr\u003e \tYou, Muses Passages\u003cbr\u003e \tStructure of Rime: Of the Five Songs\u003cbr\u003e \tThe Five Songs \u003cbr\u003e \tWhose Passages\u003cbr\u003e \tClose \u003cbr\u003e \tAt the Door \u003cbr\u003e \tIllustrative Lines \u003cbr\u003e \tAfter a Long Illness \u003cbr\u003e \tUncollected Work 1983–1988 \u003cbr\u003e \tIn Passage\u003cbr\u003e \tHekatombé \u003cbr\u003e \t\u003cbr\u003e \tAppendix: Table of Contents for Roots and Branches\u003cbr\u003e \tNotes\u003cbr\u003e \tSelected Bibliography\u003cbr\u003e \tIndex of Titles and First Lines","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":48864913293655,"sku":"9780520324862","price":27.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520324862.jpg?v=1722273289","url":"https:\/\/bookcurl.com\/products\/robert-duncan-9780520324862","provider":"Book Curl","version":"1.0","type":"link"}