Search results for ""Author Ben Lerner""

Adam Gordon is a brilliant, if highly unreliable, young American poet on a prestigious fellowship in Madrid, struggling to establish his sense of self and his relationship to art. What is actual when our experiences are mediated by language, technology, medication, and the arts? Is poetry an essential art form, or merely a screen for the reader's projections? Instead of following the dictates of his fellowship, Adam’s “research” becomes a meditation on the possibility of the genuine in the arts and beyond: are his relationships with the people he meets in Spain as fraudulent as he fears his poems are? A witness to the 2004 Madrid train bombings and their aftermath, does he participate in historic events or merely watch them pass him by?In prose that veers between the comic and tragic, the self-contemptuous and the inspired, Leaving the Atocha Station is a portrait of the artist as a young man in an age of Google searches, pharmaceuticals, and spectacle.Born in Topeka, Kansas, in 1979, Ben Lerner is the author of three books of poetry The Lichtenberg Figures, Angle of Yaw, and Mean Free Path. He has been a finalist for the National Book Award and the Northern California Book Award, a Fulbright Scholar in Spain, and the recipient of a 2010-2011 Howard Foundation Fellowship. In 2011 he became the first American to win the Preis der Stadt Münster für Internationale Poesie. Leaving the Atocha Station is his first novel.

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ONE OF BARACK OBAMA'S BOOKS OF THE YEAR 'I think the future of the novel is here' Sally Rooney 'A hugely moving American masterpiece' Max Porter Adam Gordon is a senior at Topeka High School, class of '97, the son of two psychologists. He is a renowned debater and orator, an aspiring poet, and - although it requires a lot of posturing and weight lifting - one of the cool kids, but he's also one of the seniors who brings a loner, Darren Eberheart, into the social scene, with disastrous effects. The Topeka School is a riveting story about the challenges of raising a good son in a culture of toxic masculinity. It is also a startling prehistory of the present: the collapse of public speech, the tyranny of trolls and the new right, and the ongoing crisis of identity among white men. 'His most discerning, ambitious, innovative and timely novel to date... Deeply inspired' Maggie Nelson

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In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defence of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.

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La poesía es una forma de arte que oculta en su interior una profunda contradicción: en paralelo al prestigio que ha ido cosechando con los siglos ?en realidad, podríamos decir milenios?, es a la vez una forma de expresión denostada e incluso odiada públicamente (entre los principales enemigos de la poesía están los propios poetas). Marianne Moore, la gran poeta estadounidense, escribió una vez: A mí también me desagrada. A partir de esta premisa, Ben Lerner ha intentado dilucidar el porqué de este desprestigio, apoyándose simultáneamente en su trabajo como poeta y en la coincidencia con la opinión de Moore. Dice el propio Lerner en un momento de este ensayo que hay mucho más consenso en el odio a la poesía que en la propia definición de lo que realmente es la poesía. A mí también me desagrada, y sin embargo he organizado mi vida en gran medida en torno a ella, pero no vivo esto como una contradicción puesto que la poesía y el odio hacia la poesía son para mí ?y quizás también para ti?

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From the celebrated author of The Topeka School, a collection of poetry that is dazzlingly intelligent, moving and speaks directly to our complex times. The Lights is a constellation of verse and prose, voice memos and vignettes, songs and silences, that brings the personal and the collective into startling relation. These are poems at once alive to the forces that shape human society and to the rhythms of the natural world, to the power of new technologies and the wonder of our timeless planet. Sometimes the scale is intimate and quiet and sometimes the poems are sweeping, Orphic experiments in the "collectivization of feeling": "I want everybody out there to sing along, even the stones." Written over a span of fifteen years, The Lights records the pleasures, risks, and absurdities of making art and family and meaning against a backdrop of interlocking, accelerating crises. And, even while alert to the darkness, it is the light in the book that remains, in dusk, in images from space, in old poems, in power cuts, in the flickering connections between people. From one of the most celebrated writers of his generation, the poems in this collection come to us as beacons, illuminating new possibilities of thought and feeling.

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'The sharpest and funniest novel I read this year' Craig Brown, Mail on Sunday A hilarious, intelligent cult classic, from one of the most celebrated contemporary novelists. Adam Gordon is a brilliant, if highly unreliable, young American poet on a prestigious fellowship in Madrid. Fuelled by strong coffee and self-prescribed tranquillizers, every day is a fresh attempt to establish a sense of self and an attitude towards his art. Not helped by his imperfect grasp of Spanish, Adam struggles with the underlying suspicion that his relationships, his reactions, even his entire personality are just as fraudulent as his poetry. Yet while his self-obsession runs riot he is at risk of missing the bigger and more urgent things that threaten to change the world around him in sudden and dramatic ways. One of the funniest and best-loved debut novels of contemporary times, Leaving the Atocha Station is a profound exploration of the creative impulse. 'Packed full of gags... Intensely and unusually brilliant' Geoff Dyer, Observer

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'The sharpest and funniest novel I read this year' Craig Brown, Mail on Sunday A hilarious, intelligent cult classic, from one of the most celebrated contemporary novelists. Adam Gordon is a brilliant, if highly unreliable, young American poet on a prestigious fellowship in Madrid. Fuelled by strong coffee and self-prescribed tranquillizers, every day is a fresh attempt to establish a sense of self and an attitude towards his art. Not helped by his imperfect grasp of Spanish, Adam struggles with the underlying suspicion that his relationships, his reactions, even his entire personality are just as fraudulent as his poetry. Yet while his self-obsession runs riot he is at risk of missing the bigger and more urgent things that threaten to change the world around him in sudden and dramatic ways. One of the funniest and best-loved debut novels of contemporary times, Leaving the Atocha Station is a profound exploration of the creative impulse. 'Packed full of gags... Intensely and unusually brilliant' Geoff Dyer, Observer

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This book brings together for the first time Ben Lerner's three acclaimed volumes of poetry, along with a handful of newer poems, to present a decade-long exploration of the relationship between form and meaning, between private experience and public expression. No Art is an exhilarating argument both with America and with poetry itself, in which online slang is juxtaposed with academic idiom, philosophy collides with advertising, and the language of medicine and the military is overlaid with echoes of Whitman and Keats. Here, clichés are cracked open and made new, made strange, and formal experiments disclose new possibilities of thought and feeling. No Art confirms Ben Lerner as one of the most searching and ambitious poets working today.

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No art has been denounced as often as poetry. It’s even bemoaned by poets: ‘I, too, dislike it,’ wrote Marianne Moore. ‘Many more people agree they hate poetry,’ Ben Lerner writes, ‘than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore.’ In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defence of the art. He examines poetry’s greatest haters (beginning with Plato’s famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.

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This book brings together for the first time Ben Lerner's three acclaimed volumes of poetry, along with a handful of newer poems, to present a decade-long exploration of the relationship between form and meaning, between private experience and public expression. No Art is an exhilarating argument both with America and with poetry itself, in which online slang is juxtaposed with academic idiom, philosophy collides with advertising, and the language of medicine and the military is overlaid with echoes of Whitman and Keats. Here, clichés are cracked open and made new, made strange, and formal experiments disclose new possibilities of thought and feeling. No Art confirms Ben Lerner as one of the most searching and ambitious poets working today.

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Shortlisted for the Folio Prize Internationally celebrated by critics and readers alike A dazzling and utterly original novel about making art, love, and children during the twilight of an empire In the past year, the narrator of 10:04 has enjoyed unexpected literary success, been diagnosed with a potentially fatal heart condition, and been asked by his best friend to help her conceive a child. Now, in a New York of increasingly frequent superstorms and political unrest, he must reckon with his biological mortality, the possibility of a literary afterlife, and the prospect of (unconventional) fatherhood in a city that might soon be under water. In prose that Jonathan Franzen has called 'hilarious... cracklingly intelligent... and original in every sentence', Lerner's new novel charts an exhilarating course through the contemporary landscape of sex, friendship, memory, art and politics, and captures what it is like to be alive right now. 'Brilliant... Contemplative and tender... I doubt I'll read a finer novel this year' - Sunday Telegraph 'Reading Ben Lerner gives me the tingle at the base of my spine that happens whenever I encounter a writer of true originality. He is a courageous, immensely intelligent artist who panders to no one and yet is a delight to read. Anyone interested in serious contemporary literature should read Ben Lerner, and 10:04 is the perfect place to start' - Jeffrey Eugenides, author of The Marriage Plot

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Parallel Movement of the Hands collects five long, serial poems (and prose poems) which John Ashbery left unfinished and will become part of his archive at Harvard University's Houghton Library. 'In-progress and realised' as their editor Emily Skillings puts it, these abundant poems are characteristic of the mature work of this American master, an adept of the glories of American speech, who is alert to its insinuating logics and its wild goose chases through popular culture and secret histories. In these poems, Carl Czerny rubs shoulders with the Hardy Boys, Robert Mapplethorpe and Eadweard Muybridge, all of them integrated into Ashbery's generous, omnivorous forms. 'How could I have had such a good idea?' the poet asks in 'The History of Photography'. So many good ideas, such a wealth of surprising points of departure.

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The highly anticipated annual anthology of the best Canadian and international poetry, edited by Ian Williams, Scotiabank Giller Prize winner Griffin Poetry Prize finalist. Each year, the best books of poetry published in English internationally and in Canada are honoured with the Griffin Poetry Prize, one of the world’s most prestigious and richest literary awards. Since 2001 this annual prize has tremendously spurred interest in and recognition of poetry, focusing worldwide attention on the formidable talent of poets writing in English and works in translation. Each year, the Griffin Poetry Prize Anthology features the work of the extraordinary poets shortlisted for the awards and introduces us to some of the finest poems in their collections.

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