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Lives Of The Heart        Pb
 
 

Lives Of The Heart Pb (Paperback)

by Hirshfield (Author)
5.0 out of 5 stars  See all reviews (2 customer reviews)
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Product Description

From Amazon.com

Poet Laureate Robert Pinsky writes that Jane Hirshfield "approaches the poem in a way that feels exactly right to me: plainly, reverently, intelligently." This is true both in her essays about poetry (see Nine Gates) and in her poems. Her recurrent themes of art, nature, and mystery startle the reader in many of these poems. Take, for example, the intriguingly titled "Lying," which is short enough to quote in its entirety: "He puts his brush to the canvas, / with one quick stroke / unfolds a bird from the sky. / Steps back, considers. / Takes pity. / Unfolds another."


From Library Journal

A gifted writer in midcareer, Hirshfield has published her fourth collection of poetry in tandem with a book of essays geared toward the creative writing student. The poems are of the moment?each a single gesture encompassing the dichotomies of presence and absence, life and death, being and not-being?and are heavily influenced by classical Japanese verse Hirshfield helped translate with Mariko Aratani (Ink Dark Moon: Love Poems, by Ono no Komachi and Izumi Shikibu) and the Zen Buddhism she has studied for many years: "I turn my blessing like photographs into the light;/ over my shoulder the god of Not-Yet looks on." The best are tragic in their unencumbered vision of human limitation; in one, the speaker listens to a piano played movingly?indeed, even more so, because it is played haltingly?and is ashamed "not at my tears, or even at what has been wasted,/ but to have been dry-eyed so long." Several of the nine essays in Nine Gates originated as lectures presented at writers' conferences. Clear and methodical?sometimes to the point of tediousness?they discuss the process of poetry with examples from standards like Frost, Yeats, Larkin, Whitman, and a few contemporaries. More individual are the discussions of non-Western verse and aesthetics and the process of translation from Japanese (Hirshfield cannot read Japanese and admits her translations were done cooperatively with a native speaker). In a rare personal confession, she describes herself to the late poet Richard Hugo, whom she did not know: "I don't write much/ about America, or even people. I'd often enough rather/ talk to horses." Indeed, it is the quiet restraint of these writings?poems and prose?that appeals. Recommended.?Ellen Kaufman, Dewey Ballantine Law Lib., New York
Copyright 1997 Reed Business Information, Inc.

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5.0 out of 5 stars A "Heart" of gold., Aug 22 2001
By G. Merritt (Boulder, CO) - See all my reviews
(TOP 100 REVIEWER)    (REAL NAME)   
"Take the used-up heart like a pebble/ and throw it far out," Jane Hirshfield writes in one of the eighty-two poems collected here. "You may do this, I tell you, it is permitted. Begin again the story of your life" ("Da Capa," p. 19). I arrived at this 1997 book of poetry after reading Hirshfield's equally stunning collection, GIVEN SUGAR, GIVEN SALT, earlier this year. These poems are meditations upon the heart, shaped from its interior mysteries. These poems speak to those readers who have also experienced those mysteries.

In a recent interview, Hirshfield said that "the dharma of life" teaches us to notice "our day-to-day interdependence with other people, animals, plants, objects. The experience of interconnection is rubbed into us, hour by hour, until we carry its evidence within us as a kind of patina. Love, loss, desire, hunger, fatigue, grief wear us down into the acknowledgement of our true nature--which is, paradoxically, that we have no true nature separate from everything else. Not one corner of this world is unconnected to all the rest" ("The Bloomsbury Review," July/August 2001). That dharma is evident in these poems.

Many of Hirshfield's poems are drawn from her observations of the natural world. "The rains come," she writes in "The Roses of Nag Hammadi Library," "the deer slip back into the mountains/ like hungry, rose-colored smoke./ They move mouthful by mouthful; pensive,/ they slowly rise" (p. 36). In "Respite," she writes, "Passing the fig tree/ I see it is/ suddenly huge with green fruit,/ which may ripen or not." And "Near the gate," she writes in the same poem, "I stop to watch/ the sugar ants climb the top bar/ and cross at the latch,/ as they have now in summer for years./ In this way I study my life" (p. 49).

"Poetry's work is the magnification and clarification of being," Hirshfield wrote in the Preface to her book, NINE GATES. "Through poetry," she said in the previously-mentioned interview, "we can know our individual lives and all of life more fully, more richly--we're given a broader existence." From the "fragrant carpets of alpine flowers" (p. 3) to salty heartache, Hirshfield wanders the landscape of the human heartland in this truly passionate collection of poetry, showing us how to live life deeply along the way.

G. Merritt

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5.0 out of 5 stars Moving toward the heart, Jun 21 2001
By A Customer
I admire and enjoy Jane Hirshfield's work, and, as always, appreciate her audacity in using the word 'heart' (a poetry workshop reject) as the core of her book. On a metaphysical level, heart is all there is, because heart is the essence of a thing. Jane expounds on this assumption by evocatively portraying aspects of the heart to her readers. I highly recommend this book and have turned to it often as inspiration for my own writing; Jane asks not only how, and what, but also why, pointing to the open-ended space at the end of words. Buy the book. (P.S. This review was not an exercise in brevity.)
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