Bücher von Gjertrud Schnackenberg

Heavenly Questions, the first new collection of poems from Gjertrud Schnackenberg since her critically acclaimed The Throne of Labdacus, finds her at the height of her talents and showcases her continued growth as an artist. In six long poems, Schnackenberg's rhyme-rich blank verse, with its densely packed images, shifts effortlessly between the lyric and the epic, setting passion to a verbal music that is recognizably her own.An exceptional and moving new collection from one of the most talented American poets of our time, Heavenly Questions is a work of intellectual, aesthetic, and technical innovation-and, more than that, a deeply compassionate and strikingly personal work.

Winner of the 2001 Los Angeles Times Book Prize in Poetry.A New York Times Book Review Notable Book of 2000.The first warning passing through Thebes--As small a soundAs a housefly alighting from PersiaAnd stamping its foot on a moundWhere the palace once was;As small a moth chewing threadIn the tyrant's robe;As small as the cresting of redIn the rim of an injured eye; as smallAs the sound of a human conceivedA compelling, lyric telling of the story of Oedipus, and of "what happens outside the play," in the experience of the god who is its presiding oracle: Apollo, the god of poetry, music, and healing. Given the task of setting the Sophocles text to music, the god is woven reluctantly into its world of riddles, unanswered questions, partially disclosed objects, and ambiguous second-hand reports--a world where the gods, as much as humans, are subject to the binding claims of fate and necessity.Gjertrud Schnackenberg draws upon ancient fragments and allusions to Oedipus and upon folk-tales about the origin of the Greek alphabet to present a vision of the tragedy's essential unknowableness, where the destinies of gods and humans secretly mingle in the unfolding of time, and where Zeus's laws, which suffuse the great tragedy's world, are as invisible and as inviolable as physical laws.

The poet Gjertrud Schnackenberg, whom William Logan once called "the most talented American poet under the age of forty," published her first book of poems in 1982. She has since become one of our most respected authors of verse.Schnackenberg's first three books, collected in Supernatural Love, show the thrilling evolution of a unique voice in today's letters. From an early mastery in which precision and heartbreak are inseparable, her poetry accelerates book by book through the searching, dense, and metaphysical imagery--as well as the cascading syntax--which have become her signature. Whether we are witnessing her classic portrait of Darwin in his last year or discovering the vertiginous brillance of her elegy for the Byzantine monuments of Ravenna, we find in Schnackenberg gemlike poems offered as visionary documents, unmistakable in their glittering range and passion--and never the same twice.

Nadine Gordimer once remarked that Gjertrud Schnackenberg's poems "move me in a way that I don't really think I have experienced since I first read Rilke at sixteen or seventeen."A Gilded Lapse of Time, Schnackenberg's third volume, is presented in three sections: the title sequence, concerning a visit to Dante's tomb in Ravenna; "Crux of Radiance," a series of poems exploring the making and unmaking of the image of God in scenes from the Passion narrative; and "A Monument in Utopia," about the destruction of the Russian poet Osip Mandelstam at the hands of Stalin.Setting legends of the Creation against history's record of catastrophe, setting acts of miraculous art-making against themes of God's world-making, the poems in A Gilded Lapse of Time search out the relationship between poetry and history, the ways they haunt one another, and the guilt that poetry and history share in one another's unfolding. The poet's treatment of the themes of human and divine handiwork--of earthly and celestial love, faith and refusal, oblivion and remembrance--attains to an incandescent vision of the past as a realm that lies before rather than behind us.