Ten Windows: How Great Poems Transform the World

www.randomhouseby Jane Hirshfield
Knopf, 2015

Hirshfield, a poet and Chancellor of the Academy of American Poets, ponders the value and function of poetry in 10 insightful essays. Following up on her earlier nonfiction book Nine Gates, Hirshfield delves into various works written across multiple styles and centuries. She begins with a perceptive lesson about the way a poet—and a poem—sees the world, later exploring the theme of “the hidden,” referring to both subterranean layers of meaning in a piece of writing and the protective concealments common in nature, in which, according to a biologist, “hiddenness is the default.” Elsewhere, Hirshfield shows how asking questions about poems, from Basho’s haiku to Walt Whitman’s American epics, can lead to answers about ourselves. In this vein, she tackles “American-ness” as it’s manifested in modern American poetry, concluding that our “culture [is] created by immigration, by mobility of psyche and of body.” Hirshfield writes with a poet’s voice and imparts wisdom on nearly every page. In a particularly lucid selection, “Poetry and the Constellation of Surprise,” she explains how important it is that poetry transcend reason, because reason “cannot and does not encompass the whole of life.” Hirshfield’s in-depth tour of poetry and art leaves a lasting impression. — Publisher’s Weekly

Jane Hirshfield is the author of eight books of poetry, including The Beauty; Come, Thief; After; and Given Sugar, Given Salt. Hirshfield has received fellowships from the Guggenheim and Rockefeller foundations, the National Endowment for the Arts, and the Academy of American Poets. A resident of Northern California since 1974, she is a current chancellor of the Academy of American Poets.

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The Beauty

c40acdf870759a9677a188530c89a478-w2041xby Jane Hirshfield
Knopf, 2015

Hirshfield opens her eighth book of poems describing the copper bowls of a scale in perfect balance: on one end of the scales a woman in a wheelchair sings a traditional Portuguese fado, on the other end everyone else present hangs in attention. This moment, one that expresses the internal vastness of the individual, bleeds into the rest of the collection as Hirshfield seeks the idea of balance. In a collection where “an hour can be dropped like a glass,” the pieces are seen by the reader as a new whole. “The ideas of poets turn into only themselves,” she notes, and those ideas are both the most important and the least. She uses the quotidian to peer into the life cycle. When she writes, “Now I too am sixty. / There was no other life,” it is as if the whole world had reached that milestone before her and she is somehow the last to see it through. The book pleads with itself to remember the past; the moments where days drifted by and doors could open or close. It pleads not to be forgotten. — Publisher’s Weekly

Jane Hirshfield is the author of seven previous collections of poetry, two books of essays, and four books collecting and co-translating the work of poets from the past. A current chancellor of the Academy of American Poets, Hirshfield has received many prizes and awards including fellowships from the Guggenheim and Rockefeller foundations and the National Endowment for the Arts.