Reviews
"Eliza Griswold's WIDEAWAKE FIELD is a book of compelling authority by a young poet who already understands, and stands ready to renew, poetry's most ancient tasks--to bring the news, to sing the human in the midst of its destruction, to register truths, to open our eyes. The broken world is one world in her poems. She draws tenderness from brutality, an idyll from a panic, and lyric not from interlude, but everywhere." --Susan Stewart "Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political "ressentiment" which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold: I'm embarrassed to remember the time before I grew uncertain about you, and that I had a right to say where I had been and what I saw there. We must salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy." --Richard Howard, Eliza Griswold's Wideawake Field is a book of compelling authority by a young poet who already understands, and stands ready to renew, poetry's most ancient tasks--to bring the news, to sing the human in the midst of its destruction, to register truths, to open our eyes. The broken world is one world in her poems. She draws tenderness from brutality, an idyll from a panic, and lyric not from interlude, but everywhere., "Eliza Griswold's brief poems excel in that most difficult work of the writer-not to speak to excess and yet not to say a small thing. Her poems, which treat of both personal intimacy and of the anguish so present now in our trouble-laden world are, at the same time, concise, resonant, empathetic, angry, and luminous." -Mary Oliver "Some of the strengths of Eliza Griswold's first book are immediately apparent. They include an assured authority of tone, language of repeatedly astonishing transparency, images that emerge out of each poem's invisible source, vivid and revelatory even when they appear to overlap like double exposures. Her subjects are raw, wrenching, and she makes them ours. This is writing of true originality, that seems to have started out knowing where it was going." -W.S. Merwin "Eliza Griswold's Wideawake Field is a book of compelling authority by a young poet who already understands, and stands ready to renew, poetry's most ancient tasks-to bring the news, to sing the human in the midst of its destruction, to register truths, to open our eyes. The broken world is one world in her poems. She draws tenderness from brutality, an idyll from a panic, and lyric not from interlude, but everywhere." -Susan Stewart "Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political ressentiment which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold: I'm embarrassed to remember the time before I grew uncertain about you, and that I had a right to say where I had been and what I saw there. We must salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy." -Richard Howard, "Some of the strengths of Eliza Griswold's first book are immediately apparent. They include an assured authority of tone, language of repeatedly astonishing transparency, images that emerge out of each poem's invisible source, vivid and revelatory even when they appear to overlap like double exposures. Her subjects are raw, wrenching, and she makes them ours. This is writing of true originality, that seems to have started out knowing where it was going." --W.S. Merwin "Eliza Griswold's WIDEAWAKE FIELD is a book of compelling authority by a young poet who already understands, and stands ready to renew, poetry's most ancient tasks--to bring the news, to sing the human in the midst of its destruction, to register truths, to open our eyes. The broken world is one world in her poems. She draws tenderness from brutality, an idyll from a panic, and lyric not from interlude, but everywhere." --Susan Stewart "Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political "ressentiment" which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold: I'm embarrassed to remember the time before I grew uncertain about you, and that I had a right to say where I had been and what I saw there. Wemust salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy." --Richard Howard, Some of the strengths of Eliza Griswold's first book are immediately apparent. They include an assured authority of tone, language of repeatedly astonishing transparency, images that emerge out of each poem's invisible source, vivid and revelatory even when they appear to overlap like double exposures. Her subjects are raw, wrenching, and she makes them ours. This is writing of true originality, that seems to have started out knowing where it was going., Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political ressentiment which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold: I'm embarrassed to remember the time before I grew uncertain about you, and that I had a right to say where I had been and what I saw there. We must salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy., "Eliza Griswold's brief poems excel in that most difficult work of the writernot to speak to excess and yet not to say a small thing. Her poems, which treat of both personal intimacy and of the anguish so present now in our trouble-laden world are, at the same time, concise, resonant, empathetic, angry, and luminous." Mary Oliver "Some of the strengths of Eliza Griswold's first book are immediately apparent. They include an assured authority of tone, language of repeatedly astonishing transparency, images that emerge out of each poem's invisible source, vivid and revelatory even when they appear to overlap like double exposures. Her subjects are raw, wrenching, and she makes them ours. This is writing of true originality, that seems to have started out knowing where it was going." W.S. Merwin "Eliza Griswold's Wideawake Field is a book of compelling authority by a young poet who already understands, and stands ready to renew, poetry's most ancient tasksto bring the news, to sing the human in the midst of its destruction, to register truths, to open our eyes. The broken world is one world in her poems. She draws tenderness from brutality, an idyll from a panic, and lyric not from interlude, but everywhere." Susan Stewart "Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political ressentiment which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold: I'm embarrassed to remember the time before I grew uncertain about you, and that I had a right to say where I had been and what I saw there. We must salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy." Richard Howard, "Eliza Griswold's brief poems excel in that most difficult work of the writer-not to speak to excess and yet not to say a small thing. Her poems, which treat of both personal intimacy and of the anguish so present now in our trouble-laden world are, at the same time, concise, resonant, empathetic, angry, and luminous." --Mary Oliver "Some of the strengths of Eliza Griswold's first book are immediately apparent. They include an assured authority of tone, language of repeatedly astonishing transparency, images that emerge out of each poem's invisible source, vivid and revelatory even when they appear to overlap like double exposures. Her subjects are raw, wrenching, and she makes them ours. This is writing of true originality, that seems to have started out knowing where it was going." -- W.S. Merwin "Eliza Griswold's Wideawake Field is a book of compelling authority by a young poet who already understands, and stands ready to renew, poetry's most ancient tasks--to bring the news, to sing the human in the midst of its destruction, to register truths, to open our eyes. The broken world is one world in her poems. She draws tenderness from brutality, an idyll from a panic, and lyric not from interlude, but everywhere." -- Susan Stewart "Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political ressentiment which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold: I'm embarrassed to remember the time before I grew uncertain about you, and that I had a right to say where I had been and what I saw there. We must salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy." -- Richard Howard, We must salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy.", Eliza Griswold's brief poems excel in that most difficult work of the writer-not to speak to excess and yet not to say a small thing. Her poems, which treat of both personal intimacy and of the anguish so present now in our trouble-laden world are, at the same time, concise, resonant, empathetic, angry, and luminous., "Eliza Griswold's brief poems excel in that most difficult work of the writer-not to speak to excess and yet not to say a small thing. Her poems, which treat of both personal intimacy and of the anguish so present now in our trouble-laden world are, at the same time, concise, resonant, empathetic, angry, and luminous." -Mary Oliver "Some of the strengths of Eliza Griswold's first book are immediately apparent. They include an assured authority of tone, language of repeatedly astonishing transparency, images that emerge out of each poem's invisible source, vivid and revelatory even when they appear to overlap like double exposures. Her subjects are raw, wrenching, and she makes them ours. This is writing of true originality, that seems to have started out knowing where it was going." -W.S. Merwin "Eliza Griswold's WideawakeField is a book of compelling authority by a young poet who already understands, and stands ready to renew, poetry's most ancient tasks-to bring the news, to sing the human in the midst of its destruction, to register truths, to open our eyes. The broken world is one world in her poems. She draws tenderness from brutality, an idyll from a panic, and lyric not from interlude, but everywhere." -Susan Stewart "Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political ressentiment which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold: I'm embarrassed to remember the time before I grew uncertain about you, and that I had a right to say where I had been and what I saw there. We must salute the achievement of this poetry not for novelty alone, but for its immediacy of feeling, its recognition of defeat, its stoic joy." -Richard Howard, Evidently this new poet has loved and lost (though of such loving, it is the losing which is disclosed), a good show for lyric verse, as the old poets have demonstrated; but equally evident is Ms Griswold's engagement in the world's woes, even her possession of them. Such double-dealing results in a distillation of political ressentiment which is a novelty in the annals of our poetry of passion. Who conceives Dickinson conferring an instant of her attention on what occurred at Gettysburg; indeed who expects the accents of Christina Rossetti to sort with the collective griefs of, say, Darfur? Yet hear Griswold:|9780374531300|
