Traci Brimhall
Auteur de Our Lady of the Ruins: Poems (Barnard Women Poets Prize)
A propos de l'auteur
Crédit image: Author Traci Brimhall at the 2018 Texas Book Festival in Austin, Texas, United States. By Larry D. Moore, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=74459054
Œuvres de Traci Brimhall
Oeuvres associées
The Golden Shovel Anthology: New Poems Honoring Gwendolyn Brooks (2017) — Contributeur — 17 exemplaires
Bodies Built for Game: The Prairie Schooner Anthology of Contemporary Sports Writing (2019) — Contributeur — 6 exemplaires
Dear America: Letters of Hope, Habitat, Defiance, and Democracy (2020) — Contributeur — 3 exemplaires
Étiqueté
Partage des connaissances
- Nom légal
- Brimhall, Traci
- Date de naissance
- 1982
- Lieu de naissance
- Little Falls, Minnesota, USA
- Lieux de résidence
- Manhattan, Kansas, USA
- Professions
- dichter
docent
Membres
Critiques
Listes
to get (1)
Vous aimerez peut-être aussi
Auteurs associés
Statistiques
- Œuvres
- 7
- Aussi par
- 6
- Membres
- 130
- Popularité
- #155,342
- Évaluation
- 4.0
- Critiques
- 6
- ISBN
- 10
Imagery and allusions do not come from one set of myths though much of the animal and plantlife and terrain emerge from Brazil – references to classical ideas such as the Chorus, and to Western Christianity merge with a pre-Christian sense of sacredness leading a speaker to challenge belief, saying ‘They don’t believe you exist / even though they wrap slices of lamb / in the pages of the book you wrote / for the illiterate shepherds’ (from ‘Incomplete Address to the Lord’) and later to speak of an ambivalent god with an ‘ambition / to be free of us’ (from ‘Sanctuary’). The fusion of established ideals into places that precede those ideals challenges the reader to listen rather than assume or impose.
The title poem ‘Saudade’ closes the collection with a Prospero-like monologue, shifting attention from the story to the speaker. Where Prospero asks to be set free, the poet and mythmaker expresses a desire for ‘a world of my own’, a place ‘where everything is true but retreats when you try / to touch it.’ In this way the past comes to seem more ‘endless’ to the speaker and the poems, rather than simply being a riddle solved (which I don’t think I could) and placed on the shelf, become a starting point.… (plus d'informations)