Failure: Poems - Hardcover

Schultz, Philip

Hardcover

ISBN 10: 0151015260 ISBN 13: 9780151015269

Publisher: Houghton Mifflin Harcourt, 2007

Synopsis

A driven immigrant father, an old poet, Isaac Babel in the author’s dreams—Philip Schultz gives voice to failures in poems that are direct and wry. He evokes other lives, too—family, beaches, dogs, the pleasures of marriage, New York City in the 1970s, "when nobody got up before noon, wore a suit/or joined anything"—and a mind struggling with revolutions both interior and exterior. Failure is a superb new collection from one of America’s great poets.

One called him a nobody.

No, I said, he was a failure.

You can’t remember

a nobody’s name, that’s why

they’re called nobodies.

Failures are unforgettable.

—from "FAILURE"

About this title

About the Authors

PHILIP SCHULTZ is the author of five collections of poetry, including the National Book Award nominee Like Wings. A recipient of fellowships from the Guggenheim Foundation and the National Endowment for the Arts, he is also the founder of the Writers Studio in New York.

PHILIP SCHULTZ is the author of five collections of poetry, including the National Book Award nominee Like Wings. A recipient of fellowships from the Guggenheim Foundation and the National Endowment for the Arts, he is also the founder of the Writers Studio in New York.

From the Back Cover

ADVANCE PRAISE FOR FAILURE

"Philip Schultz's language reminds me of such modern masters as Isaac Rosenberg and Hart Crane. It's one thing I've always admired in his poetry; that and a heartbreaking tenderness that goes beyond mere pity and that is so present in Failure. It's as if he bears our pain." -Gerald Stern, winner of the National Book Award

"Philip Schultz's poems have long since earned their own place in American poetry. His stylistic trademarks are his great emotional directness and his intelligent haranguing--of God, the reader, and himself. He is one of the least affected of American poets, and one of the fiercest." -Tony Hoagland

"Call it a poetry of the multiple truths of the all-too-human, the American language profoundly shaped into inclusively, powerfully felt passion. Philip Schultz's Failure is a book of poems of the highest achievement by one of American poetry's longtime masters of the art."--Lawrence Joseph

"Plantive and jubilant, the melody dissolves everything between itself and the firmament, underscoring Schultz's remarkable capacity for empathy with his fellow creatures. Here as elsewhere, his resolve to exult, even in the face of desolation and adversity, make Failure a....splendid book." --Floyd Collins, Gettysburg Review

From the Inside Flap

"Philip Schultz is a hell of a poet, one of the very best of his generation, full of slashing language, good rhythms, surprises, and the power to leave you meditating in the cave of his poems."
--Norman Mailer

A driven immigrant father, an old poet, Isaac Babel in the author s dreams?Philip Schultz gives voice to failures in poems that are direct and wry. He evokes other lives, too?family, beaches, dogs, the pleasures of marriage, New York City in the 1970s ("when nobody got up before noon, wore a suit / or joined anything")?and a mind struggling with revolutions both interior and exterior. Failure is a superb new collection from one of America s great poets.

Reviews

The careful, compassionate sixth outing from Schultz (Living in the Past) reverses the plot many poetry books imply. Rather than show an emotional problem (in the first poems) followed by its gradual solution, Schultz begins with warm, even heartwarming, short depictions of love, marriage, fatherhood, and mourning, in which even the elegies find reasons to love life. Schultz addresses the deceased poet David Ignatow: "I didn't go/ to your funeral, but, late at night, I/ bathe in the beautiful ashes of your words." As a reader moves through the volume, and especially in "The Wandering Wingless"- the sequence whose 58 segments and 54 pages conclude the book\-Schultz's gladness gives way to regret and grim fear. Devoted (like several of Schultz's short poems) to the virtues of dogs and of dog-ownership, and to the horrors of September 11, "Wingless" meanders through the poet's own depression and his young adult life before settling on his continuing grief for his unstable, suicidal father. "Why/ did Dad own, believe in,/ admit to, understand/ and love nothing?" It is a question no poet could answer, though Schultz sounds brave, and invites sympathy, as he tries. The clear, even flat, free verse suggests Philip Booth, though Schultz's Jewish immigrant heritage, and his attachment to New York City, place him far from Booth's usual rural terrain. Few readers will find his language especially varied or inventive; many, however, could see their own travails in his plainly framed, consistently articulated sorrows and joys.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Excerpt. © Reprinted by permission. All rights reserved.

It’s Sunday Morning in Early November
 
and there are a lot of leaves already.
I could rake and get a head start.
The boys’ summer toys need to be put
in the basement. I could clean it out
or fix the broken storm window.
When Eli gets home from Sunday school,
I could take him fishing. I don’t fish
but I could learn to. I could show him
how much fun it is. We don’t do as much
as we used to do. And my wife, there’s
so much I haven’t told her lately,
about how quickly my soul is aging,
how it feels like a basement I keep filling
with everything I’m tired of surviving.
I could take a walk with my wife and try
to explain the ghosts I can’t stop speaking to.
Or I could read all those books piling up
about the beginning of the end of understanding . . .
Meanwhile, it’s such a beautiful morning,
the changing colors, the hypnotic light.
I could sit by the window watching the leaves,
which seem to know exactly how to fall
from one moment to the next. Or I could lose
everything and have to begin over again.

 

Talking to Ourselves

 A woman in my doctor’s office last week
couldn’t stop talking about Niagara Falls,
the difference between dog and deer ticks,
how her oldest boy, killed in Iraq, would lie
with her at night in the summer grass, singing
Puccini. Her eyes looked at me but saw only
the saffron swirls of the quivering heavens.
 
Yesterday, Mr. Miller, our tidy neighbor,
stopped under our lopsided maple to explain
how his wife of sixty years died last month
of Alzheimer’s. I stood there, listening to
his longing reach across the darkness with
each bruised breath of his eloquent singing.
 
This morning my five-year-old asked himself
why he’d come into the kitchen. I understood
he was thinking out loud, personifying himself,
but the intimacy of his small voice was surprising.
 
When my father’s vending business was failing,
he’d talk to himself while driving, his lips
silently moving, his black eyes deliquescent.
He didn’t care that I was there, listening,
what he was saying was too important.
 
“Too important,” I hear myself saying
in the kitchen, putting the dishes away,
and my wife looks up from her reading
and asks, “What’s that you said?”

 

Specimen
 
I turned sixty in Paris last year.
We stayed at the Lutetia,
where the Gestapo headquartered
during the war, my wife, two boys, and me,
and several old Vietnamese ladies
carrying poodles with diamond collars.
 
Once my father caught a man
stealing cigarettes out of one
of his vending machines.
He didn’t stop choking him
until the pool hall stunk of excrement
and the body dropped to the floor
like a judgment.
 
When I was last in Paris
I was dirt poor, hiding
from the Vietnam War.
One night, in an old church,
I considered taking my life.
I didn’t know how to be so young
and not belong anywhere, stuck
among so many perplexing melodies.
 
I loved the low white buildings,
the ingratiating colors, the ancient light.
We couldn’t afford such luxury.
It was a matter of pride.
My father died bankrupt one week
before his sixtieth birthday.
I didn’t expect to have a family;
I didn’t expect happiness.
 
At the Lutetia everyone
dressed themselves like specimens
they’d loved all their lives.
Everyone floated down
red velvet hallways
like scintillating music
you hear only once or twice.
 
Driving home, my father said,
“Let anyone steal from you
and you’re not fit to live.”
I sat there, sliced by traffic lights,
not belonging to what he said.
I belonged to a scintillating
and perplexing music
I didn’t expect to hear.

 

The Summer People
 
Santos, a strong, friendly man,
who built my wife’s sculpture studio,
fixed everything I couldn’t,
looked angry in town last week.
Then he stopped coming. We wondered
if we paid him enough, if he envied us.
Once he came over late to help me catch a bat
with a newspaper and trash basket.
He liked that I laughed at how scared I got.

We’re “year rounds,” what the locals call
summer people who live here full time.
Always in a hurry, the summer people honk a lot,
own bigger cars and houses. Once I beat a guy
in a pickup to a parking space, our summer sport.
“Lousy New Yorker!” he cried.
 
Every day now men from Guatemala, Ecuador,
and Mexico line up at the railroad station.
They know that they’re despised,
that no one likes having to share their rewards,
or being made to feel spiteful.
 
When my uncle Joe showed me the shotgun
he kept near the cash register
to scare the black migrants
who bought his overpriced beer and cold cuts
in his grocery outside of Rochester, N.Y.,
his eyes blazed like emerald suns.
It’s impossible to forget his eyes.
 
At parties the summer people
who moved here after 9/11
talk about all the things they had to give up.
It’s beautiful here, they say, but everything
is tentative and strange,
as if the beauty isn’t theirs to enjoy.
 
When I’m tired, my father’s accent
scrapes my tongue like a scythe.
He never cut our grass or knew
what grade I was in. He worked days,
nights, and weekends, but failed anyway.
Late at night, when he was too tired to sleep,
he’d stare out the window so powerfully
the world inside and outside
our house would disappear.   
 
In Guatemala, after working all day,
Santos studied to be an architect.
He suffered big dreams, his wife said.
My wife’s studio is magnificent.
We’d hear him up there in the dark,
hammering and singing, as if
he were the happiest man alive.

Copyright © 2007 by Philip Schultz
 
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Edition details

• Publisher: Houghton Mifflin Harcourt
• Publication date: 2007
• Language: English
• ISBN 10: 0151015260
• ISBN 13: 9780151015269
• Binding: Hardcover
• Number of pages: 106