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The poems in Stuart Dischell's prizewinning first collection, Good Hope Road, inhabit a geography of seeming contradictions where lyric and narrative, personal life and mythic yearning, the domestic and the historic, the elegant and the impure converge.
Like Joyce's Dubliners, the twelve poems of the opening sequence, "Apartments," reflect a wide panorama of contemporary urban consciousness, Dischell's subjects are wronged lovers, thwarted citizens, an idealistic veteran, bickering relations - all with their entangled, fractious alliances.
As a counterweight, "Household Gods," the book's second section, presents lyric and dramatic monologues whose scenes are the shore, the city, and the countryside. Here are homages and elegies, poems of childhood, betrayal, and loss.
Observant and compassionate, Good Hope Road introduces a striking and powerful writer.
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STUART DISCHELL was born in Atlantic City, New Jersey. He is the author of Good Hope Road, a National Poetry Series Selection, Evenings & Avenues, Dig Safe, and Backwards Days. Dischell’s poems have been published in The Atlantic, Agni, The New Republic, Slate, Kenyon Review, and anthologies including Pushcart Prize. A recipient of awards from the NEA, the North Carolina Arts Council, and the John Simon Guggenheim Foundation, he teaches in the MFA Program in Creative Writing at the University of North Carolina Greensboro.From Publishers Weekly:
Inspired by life in Atlantic City, N.J., in the '50s, this debut book won the 1991 National Poetry Series competition. "Apartments," the series of poems that makes up its first half, is rather familiar fare, presenting the residents of each dwelling in the context of their fears, dreams and, most of all, their losses. While the woman portrayed in "Wishes" "wishes she were older / Or younger, wishes the sky were a little calmer, / That it wouldn't rain on her driving errands, / That she wasn't so late for her appointment," the man in "Hates" "hates the bosses and oppressors, / Votes only for losing candidates, / Knows that he will never be president / Or arrive at anyone's concept of heaven." The more intimate and personal second half of the book, "Household Gods," features writing that is better modulated, albeit heavily influenced by the work of Robert Lowell (in childhood, "I was Cortez. I was Balboa. I was any / Fool in bushclothes and a monocle, / Preposterous as the rocks were ponderous"). Yet Dischell sometimes creates beautifully spare language: "He remembers the dark street and the sun / just rising. Beloved demimonde, / That life is gone. In his hand / The crescent moon of a broken saucer, / A torn admission to the domestic theatre. / Under his hat the memory of stars."
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Book Description Viking Adult, 1993. Hardcover. Condition: New. Seller Inventory # DADAX0670848220
Book Description Viking Adult, 1993. Condition: New. book. Seller Inventory # M0670848220