Search results for ""Author Norman Dubie""

Book Synopsis "One of our premier poets."—The New York Times "Dubie''s dramatic poetry seeks to represent our deepest moments of perception, struggle, and revelation. Out of his voice come the voices of multitudes. Yet his achievement and vision are singular."—American Book Review The Boston Review called Norman Dubie''s poems "extraordinary," and the evocative poems of The Volcano certainly are: lyrically intense, hallucinatory, worldly, and precise. In a five-word poem, "A New Moon," he laments, "I will not see it." But there is much he does see: DNA ladders, Sasquatch, Pontius Pilot''s mealy figs, and "a calliope of turtles / bobbing in the North Atlantic." Green fruit on a card table.At the roadside, a small boygnawing on corn smileswith efficient hunger—no one elseis alive for a hundred square miles—the road ruptured above and below him—the jaguar smiles backin a white cap of ash that is also the night . . . Norman Dubie founded the MFA program at Arizona State University. He lives in Tempe, Arizona.

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Book Synopsis The New York Times called Norman Dubie “one of our premier poets,” and his new book proves the point. This “broken fantasia” addresses humankind’s engagement with spiritual practice. Backdropped by politics and religion, Dubie searches for independent, individual meaning through the lives of eccentric and visionary holy men such as Meister Eckhart, Rumi, the Tibetan Tashi Lama, the mathematician Ramanujan, Michel de Nostradam and the Egyptian recluse, Cyril. “I adore how they are all ignoring us,” Dubie writes, “with an absolute genius-like snoring.” Norman Dubie, a practitioner of Tibetan Buddhism, is a Regents’ professor at Arizona State University and the author of 18 books of poetry. His work has been translated into 30 languages.

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Book Synopsis Norman Dubie has one of the most radical imaginations in American letters. Winner of the PEN Literary Award for Poetry, The Mercy Seat includes selections from each of Dubie’s 17 previous volumes. Whether illuminating a common laborer or a legendary thinker, Dubie meets his subjects with utter compassion for their humanity and the dignity behind their creative work. In pursuit of the well-told story, his love of history is ever-present—though often he recreates his own. “With its restoration of so many out-of-print poems and its addition of new works, The Mercy Seat was one of last year’s most significant publications.” —American Book Review “The voices of Dubie’s monologues are full of astonishing intimacy.” —The Washington Post Book World

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Book Synopsis “Dubie has already been recognized as one of the most powerful and influential American poets . . . his poems have always been generous and inclusive, capable of containing multiple and conflicting worlds—of memory and the present, of the artistic and the daily.”—The Washington Post Book World “Dubie has a singular talent for inhabiting a persona and making convincing representations of another person’s life, taking on a different view and experience of the world… It is the tenderness of his identifications that make Dubie’s work so extraordinary.” —Boston Review "Dubie continues to build poems on the unstable terrain of dreams and contemporized Blakean visions, stacking sharp images and impenetrable questions into tottering, sometimes ominous funhouse meditations." —Library Journal The poems in Norman Dubie’s Insomniac Liar of Topo behave much like that of a linear accelerator: exploding worlds into each other, from opposite poles, with tremendous speed, to discover the worlds within. Populated by an eccentric menagerie of mystics, holy men, and brilliant artists, Dubie brings together the astonishingly grotesque and sardonically beautiful, to call forth the sincere within the context of war and human dissonance. Dubie, a master purveyor of trickster protest and psychological release, uses an array of voices to highlight the splinter and shatter of wartime, of destroyed art and sacred texts, and the specific and various destructions that have made humans themselves aliens of their own planet. So, the sun’s down, the ship’s lights are like obvious fat jewels. And if we want to have commerce with the lizard men in their blue suits, then we must eat more of these slouching animals and fasted too. Norman Dubie is the author of nineteen books of poetry and served as poetry editor for The Iowa Review and director of the graduate poetry workshop at the University of Iowa. He helped found the MFA program at Arizona State University in Tempe, where he teaches as a regents professor for creative writing.

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Book SynopsisIn his newest collection, Robert Schumann is Mad Again,Norman Dubie explores human suffering in a narrative unlimited by time and space. From the fields of a fallen Jerusalem, to the sci-fi prison of the Ukraine's Crater Lviv, Dubie has crafted a kaleidoscope of reserved places and experiences throughout history. His ekphrastic work, a continual expansion of a legacy seeking to test the limits of the lyric, spirals across the boundaries of nonfiction and the surreal, the artistic and the scientific. Norman Dubie reconciles the violence of cobbled streets and abandoned houses with the mysterious hum of the arts, singing to nearly/ everyone who will listen. This collection pays homage to the voices of classic writers, artists, and scientists, where the likes of Francisco Goya, Paolo Uccello, and the collection's namesake evaluate this unnerving world, suspended in balanced chaos. Simultaneously solemn and experimental, Dubie's latest poems embrace his anxieties of aging and death, capturing a haunting sense of wonder that lingers like a cold touch and draws compassion for humanity's future.

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Book Synopsis Winner of the 2016 Griffin International Poetry Prize "Norman Dubie is one of our premier poets."—The New York Times "Dubie''s poems are unmatched in their incandescent imaginings, gorgeous language, and fearless tracking of the inexorably turning wheel of existence."—Booklist "Dubie [is] one of the most powerful and influential American poets."—The Washington Post “The poems in Dubie’s newest collection [The Quotations of Bone] are deeply oneiric, governed by vigorous leaping energy that brings the intimate into contact with history, and blurs the distinction between what is real because it once happened, and what is real because of the emphatic manner in which it has been felt. Longtime admirers of Dubie will certainly recognize the familiar mind and spirit able to punch through the surface of experience and into deep psychic quandary with a single revelatory gesture (Did you ever want to give someone // All your money?)-but that tendency is greatly amplified here. One feels the unconscious mind working ceaselessly, even playfully, alongside memory, imparting the poems as if with a strange and consoling living spirit. This makes for a heightened sense of mystery and mortality in poems of private experience. And when such an impulse is aligned with public history—the division of Germany, say, or the acceleration of the planet’s ecological crisis—it is outright haunting. Dubie’s uncontested mastery of the lyric poem has, in this collection, broken into strange and revelatory territory.”—Griffin International Poetry Prize Judges’ Citation In his twenty-ninth collection of poems, Norman Dubie returns to a rich, color-soaked vision of the world. Strangeness becomes a parable for compassion, each poem leading the reader to an uncommon way of understanding human capacities. In the futuristic sphere of The Quotation of Bone, the mind wanders meditatively into an imaginative and uncontainable history. The Quotations of Bone The meal of bone was a soured milk—just the heads of giant elkin a dark circle looking downon a wooden bowl of soda crackersand pork. One large kniferesting in the meatof a woodsman''s calloused hand.He grins at his womanwho is slowly poisoning himwith the stringy resins of morning glory.A tasteless turpentine with pink pig.The speeches of boneare matrimonial in early autumn—by January there''s a froth of bloodat a nostril.He thinks a long icicle is buried in his ear.She thinks D. H. Lawrence was a grim buccaneer.I hate most men. Adore the few named Lou.One small addendum:the dead elk are grinning too. Norman Dubie is a Regents professor at Arizona State University. He lives in Tempe, Arizona.

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