Search results for ""Author Daniel Anderson""

The poems in The Night Guard at the Wilberforce Hotel navigate the evanescent boundaries between the public and the private self. Daniel Anderson's settings are often social but never fail to turn inward, drowning out the chatter of conversation to quietly observe the truths that we simultaneously share and withhold from one another - even as we visit friends, celebrate a young couple's union, or eavesdrop on the conversations of others. These twenty poems include meditations on teaching hungover undergraduates, wine tasting among snobs, and engaging the war on terror from the comfort of the suburbs. They are alternately driven by ornamental language that seeks to clarify and crystallize the beauties of our common world and the poet's faith that fellowship ultimately trumps partisanship. Even as they weigh and measure the darkness of the heart and the sometimes rash and stingy movements of the mind, the poems refrain from pronouncing judgment on their characters. As much as they ponder, they also celebrate in exact, careful, and loving terms the haunting and bracing stimuli from which they originate.

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Accessible and wry, at times comic, and often mournful, Daniel Anderson's poetry is relentlessly attentive to the splendors of the natural world. But the poems collected here-previously published in such leading literary journals as Poetry, The Kenyon Review, The Southern Review, The Yale Review, New England Review, and Southwest Review-are not relegated simply to the realm of pastoral meditation. They give voice to the sorrowful and sometimes unfortunate things we say and think. They chronicle, with both precision and care, the many ways in which jubilation and lament frequently reverse themselves. Above all else, each poem crystallizes in its wake a freshly minted moment, one that articulates an experience that reaches beyond the poet's own time and place. Sunflowers drenched in early evening sun; icy blue, explosive waves along the rocky shores of Maine; September cotton "like strange anachronistic snow" in Tennessee-Anderson forges these images into deep ruminations on love, shame, delight, loss, and estrangement.

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The Body in the Group has been structured around the formation of a group analytic concept of sexuality, using the archaeology of Michel Foucault to move away from psychoanalytic theory, with its association to heteronormativity and pathology, on which group analysis has historically relied. The failure of group analysis to have its own theory of sexuality is, in fact, its greatest potential. It is a psychosocial theory that is able to contain failure in language and gaps in discourse, and, furthermore, can mobilise its creative potential in relation to the discourse of sexuality. Furthermore, using queer theory enables the failure of the term ‘homosexual’ by disrupting its association to heteronormativity and psychopathology that traditional psychoanalysis has emphasised. The potential of the group analytic matrix to disrupt and change discourse by conceiving of it using figurations and their associated political radicalism within language and discourse permits a radical conception of space and time. Bi-logic removes the potentially unhelpful competitive splits in power associated with the politics of sexuality and gender and, by doing so, enables multiple and contradictory positions of sexuality and gender to be held simultaneously. In addition, group analysis radically alters typical notions of ethics by being able to conceive of a psychosocial form of ethics. Likewise, queer theory raises an awareness for group analysis of the potential violence of its textual representation. Finally, analytic groups are ‘figurations in action’ when terms such as group polyphony, embodiment, discursive gaps, and norms (or no-norms) are mobilised alongside spatio-temporality and bi-logic. The group analytic literature so far has delimited sexuality and gender by over-reliance on psychoanalysis. Daniel Anderson, by utilising group analytic theory alongside the archaeology of Foucault and feminist, queer and education theory, has created an exciting and innovative way of working with sexuality in a group analysis setting.

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Howard Nemerov—poet laureate of the United States, winner of the Pulitzer Prize and National Book Award, and chancellor of the Academy of American Poets—was one of the most prolific and significant American poets of the twentieth century. By the time of his death in 1991, he had published fourteen collections of poetry. Judiciously selected and introduced by poet Daniel Anderson, The Selected Poems of Howard Nemerov represents the broad spectrum of Nemerov’s virtues as a poet—his intelligence, his wit, his compassion, and his irreverence. It stands as the retrospective collection of the best of what Nemerov left behind, which is some of the finest poetry that the twentieth century produced. “To keep his errors down to a minimum,” W. H. Auden wrote, “the internal Censor to whom a poet submits his work in progress should be a Censorate. It should include, for instance, a sensitive only child, a practical housewife, a logician, a monk, an irreverent buffoon a nd even, perhaps, hated by all others and returning their dislike, a brutal, foul-mouthed drill sergeant who considers all poetry rubbish.” Such are the readers to whom the poetry of Howard Nemerov might appeal. He distinguished himself on the landscape of American letters as a writer of great versatility. More than a decade after his death, that claim still holds true. In this, the only edition of Nemerov’s work that surveys his entire poetic output, first-time readers of these poems will find an introduction to a truly remarkable creative mind. Longtime admirers of Nemerov will be reminded once again of his significance as a craftsman and philosopher, and as a poetic steward of the many ways in which we experience the world.

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