The Best of the Best American Poetry: 1988-1997 (American Poetry Series) - Softcover

Softcover

ISBN 10: 0684847795 ISBN 13: 9780684847795

Publisher: Scribner, 1998

Synopsis

One of the country's foremost literary critics chooses the best seventy-five poems from the past ten years of the widely acclaimed Best American Poetry series, with a provocative introduction that comments on the state of poetry today. Simultaneous. 50,000 first printing.

About this title

About the Author

Harold Bloom was born in the Bronx in 1930. He is Sterling Professor of Humanities at Yale University and Berg Professor of English at New York University. In his first book, Shelley's Mythmaking (1959), Bloom made a spirited case for a poet then out of favor with the academic critical establishment. His subsequent books include The Visionary Company (1961), The Anxiety of Influence (1973), A Map of Misreading (1975), Poetry and Repression (1976), and The Western Canon (1994). He has edited numerous volumes, including several hundred critical studies of major authors that appear under the Chelsea House imprint. Ruin the Sacred Truths (1989) presents the lectures Bloom delivered as the Charles Eliot Norton Professor at Harvard. In The Book of J (1990), Bloom speculated that the author of the oldest portions of the Hebrew Bible may have been a woman in the court of King Solomon. He has also written on religion in two other books, The American Religion (1992) and Omens of Millennium; The Gnosis of Angels, Dreams and Resurrection (1996). Bloom, who has held a MacArthur Fellowship, is currently finishing a study of Shakespeare under the title Shakespeare: The Invention of the Human.

Excerpt. © Reprinted by permission. All rights reserved.

Chapter 1

JONATHAN AARON

Dance Mania

In 1027, not far from Bernburg,
eighteen peasants were seized
by a common delusion.
Holding hands, they circled for hours
in a churchyard, haunted by visions,
spirits whose names they called in terror or welcome,
until an angry priest cast a spell on them
for disrupting his Christmas service,
and they sank into the frozen earth
up to their knees. In 1227
on a road to Darmstadt, scores of children
danced and jumped in a shared delirium.
Some saw devils, others the Savior enthrone
d in the open heavens. Those who survived
remained palsied for the rest of their days.
And in 1278, two hundred fanatics raved on a bridge
that spanned the Mosel near Koblenz.
A cleric passed carrying the host
to a devout parishioner, the bridge collapsed,
and the maniacs were swept away.
A hundred years later, in concert with
The Great Mortality, armies of dancers
roved in contortions all over Europe.
The clergy found them immune to exorcism,
gave in to their wishes and issued
decrees banning all but square-toed shoes,
the zealots having declared they hated
pointed ones. They disliked even more
the color red, suggesting
a connection between their malady
and the condition of certain infuriated
animals. Most of all they could not endure
the sight of people weeping.
The Swiss doctor Paracelsus was the first to call
the Church's theories of enchantment
nonsensical gossip. Human life is inseparable
from the life of the universe, he said.
Anybody's mortal clay is an extract
of all beings previously created. Illness
can be traced, he said,
to the failure of the Archaeus, a force
residing in the stomach and whose function
is to harmonize the mystic elements (salt,
sulphur, mercury) on which vitality depends.
He advocated direct measures, proposed remedies
fitting the degree of the affliction.
A patient could make a wax doll of himself,
invest his sins and blasphemies within the manikin,
then burn it with no further ceremony.
He could subject himself to ice-water baths,
or submit to starvation in solitary confinement.
Noted for his arrogance, vanity
and choler (his real name was Theophrastus Bombast
von Hohenheim), Paracelsus made enemies.
They discovered he held no academic degree
and caused him to be banished from Basle,
to become a wanderer who would die mysteriously
at the White Horse Inn in Salzburg in 1541.
After a drunken orgy, said one report.
The victim of thugs hired by jealous apothecaries,
said another. And the dance mania
found its own way through time to survive
among us, as untouched as ever by the wisdom of science.
Think of the strange, magnetic sleep
whole populations fall into every day,
in gymnasiums full of pounding darkness,
in the ballrooms of exclusive hotels,
on verandahs overlooking the ocean and played upon
by moonlight, in backyards, on the perfect lawns
of great estates, on city rooftops, in any brief field
the passing tourist sees as empty --
how many millions of us now, the living
and the dead, hand in hand as always,
approaching the brink of the millennium.
1992

A. R. AMMONS

Anxiety Prosody

Anxiety clears meat chunks out of the stew, carrots, takes
the skimmer to floats of greasy globules and with cheesecloth

filters the broth, looking for the transparent, the colorless
essential, the unbeginning and unending of consommé: the

open anxiety breezes through thick conceits, surface congestions
(it likes metaphors deep-lying, out of sight, their airs misting

up into, lighting up consciousness, unidentifiable presences),
it distills consonance and assonance, glottal thickets, brush

clusters, it thins the rhythms, rushing into longish gaits, more
distance in less material time: it hates clots, its stump-fires

level fields: patience and calm define borders and boundaries,
hedgerows, and sharp whirls: anxiety burns instrumentation

matterless, assimilates music into motion, sketches the high
suasive turnings, mild natures tangled still in knotted clumps.
1989

A. R. AMMONS

Garbage

I

Creepy little creepers are insinuatingly
curling up my spine (bringing the message)

saying, Boy!, are you writing that great poem
the world's waiting for: don't you know you

have an unaccomplished mission unaccomplished;
someone somewhere may be at this very moment

dying for the lack of what W. C. Williams says
you could (or somebody could) be giving: yeah?

so, these messengers say, what do you
mean teaching school (teaching poetry and

poetry writing and wasting your time painting
sober little organic, meaningful pictures)

when values thought lost (but only scrambled into
disengagement) lie around demolished

and centerless because you (that's me, boy)
haven't elaborated everything in everybody's

face, yet: on the other hand (I say to myself,
receiving the messengers and cutting them down)

who has done anything or am I likely to do
anything the world won't twirl without: and

since SS's enough money (I hope) to live
from now on on in elegance and simplicity --

or, maybe,just simplicity -- why shouldn't I
at my age (63) concentrate on chucking the

advancements and rehearsing the sweetnesses of
leisure, nonchalance, and small-time byways: couple

months ago, for example, I went all the way
from soy flakes (already roasted and pressed

and in need of an hour's simmering boil
to be cooked) all the way to soybeans, the

pure golden pearls themselves, 65¢ lb. dry: they
have to be soaked overnight in water and they

have to be boiled slowly for six hours -- but
they're welfare cheap, are a complete protein,

more protein by weight than meat, more
calcium than milk, more lecithin than eggs,

and somewhere in there the oil that smoothes
stools, a great virtue: I need time and verve

to find out, now, about medicare/medicaid,
national osteoporosis week, gadabout tours,

hearing loss, homesharing programs, and choosing
good nutrition! for starters! why should I

be trying to write my flattest poem, now, for
whom, not for myself, for others?, posh, as I

have never said: Social Security can provide
the beans, soys enough: my house, paid for for

twenty years, is paid for: my young'un
is raised: nothing one can pay cash for seems

very valuable: that reaches a high enough
benchmark for me -- high enough that I wouldn't

know what to do with anything beyond that, no
place to house it, park it, dock it, let it drift

down to: elegance and simplicity: I wonder
if we need those celestial guidance systems

striking mountaintops or if we need fuzzy
philosophy's abstruse failed reasonings: isn't

it simple and elegant enough to believe in
qualities, simplicity and elegance, pitch in a

little courage and generosity, a touch of
commitment, enough asceticism to prevent

fattening: moderation: elegant and simple
moderation: trees defined themselves (into

various definitions) through a dynamics of
struggle (hey, is the palaver rapping, yet?)

and so it is as if there were a genetic
recognition that a young tree would get up and

through only through taken space (parental
space not yielding at all, either) and, further:

so, trunks, accommodated to rising, to reaching
the high light and deep water, were slender

and fast moving, and this was okay because
one good thing about dense competition is that

if one succeeds with it one is buttressed by
crowding competitors; that is, there was little

room for branches, and just a tuft of green
possibility at the forest's roof: but, now,

I mean, take my yard maple -- put out in the free
and open -- has overgrown, its trunk

split down from a high fork: wind has
twisted off the biggest, bottom branch: there

was, in fact, hardly any crowding and competition,
and the fat tree, unable to stop pouring it on,

overfed and overgrew and, now, again, its skin's
broken into and disease may find it and bores

of one kind or another, and fungus: it just
goes to show you: moderation imposed is better

than no moderation at all: we tie into the
lives of those we love and our lives, then, go

as theirs go; their pain we can't shake off;
their choices, often harming to themselves,

pour through our agitated sleep, swirl up as
no-nos in our dreams; we rise several times

in a night to walk about; we rise in the morning
to a crusty world headed nowhere, doorless:

our chests burn with anxiety and a river of
anguish defines rapids and straits in the pit of

our stomachs: how can we intercede and not
interfere: how can our love move more surroundingly,

convincingly than our premonitory advice

II

garbage has to be the poem of our time because
garbage is spiritual, believable enough

to get our attention, getting in the way, piling
up, stinking, turning brooks brownish and

creamy white: what else deflects us from the
errors of our illusionary ways, not a temptation

to trashlessness, that is too far off, and,
anyway, unimaginable, unrealistic: I'm a

hole puncher or hole plugger: stick a finger
in the dame (dam, damn, dike), hold back the issue

of creativity's flood, the forthcoming, futuristic,
the origins feeding trash: down by I-95 in

Florida where flatland's ocean- and gulf-flat,
mounds of disposal rise (for if you dug

something up to make room for something to put
in, what about the something dug up, as with graves:)

the garbage trucks crawl as if in obeisance,
as if up ziggurats toward the high places gulls

and garbage keep alive, offerings to the gods
of garbage, of retribution, of realistic

expectation, the deities of unpleasant
necessities: refined, young earthworms,

drowned up in macadam pools by spring rains, moisten
out white in a day or so and, round spots,

look like sputum or creamy-rich, broken-up cold
clams: if this is not the best poem of the

century, can it be about the worst poem of the
century: it comes, at least, toward the end,

so a long tracing of bad stuff can swell
under its measure: but there on the heights

a small smoke wafts the sacrificial bounty
day and night to layer the sky brown, shut us

in as into a lidded kettle, the everlasting
flame these acres-deep of tendance keep: a

free offering of a crippled plastic chair:
a played-out sports outfit: a hill-myna

print stained with jelly: how to write this
poem, should it be short, a small popping of

duplexes, or long, hunting wide, coming home
late, losing the trail and recovering it:

should it act itself out, illustrations,
examples, colors, clothes or intensify

reductively into statement, bones any corpus
would do to surround, or should it be nothing

at all unless it finds itself: the poem,
which is about the pre-socratic idea of the

dispositional axis from stone to wind, wind
to stone (with my elaborations, if any)

is complete before it begins, so I needn't
myself hurry into brevity, though a weary reader

might briefly be done: the axis will be clear
enough daubed here and there with a little ink

or fined out into every shade and form of its
revelation: this is a scientific poem,

asserting that nature models values, that we
have invented little (copied), reflections of

possibilities already here, this where we came
to and how we came: a priestly director behind the

black-chuffing dozer leans the gleanings and
reads the birds, millions of loners circling

a common height, alighting to the meaty steaks
and puffy muffins (puffins?): there is a mound

too, in the poet's mind dead language is hauled
off to and burned down on, the energy held and

shaped into new turns and clusters, the mind
strengthened by what it strengthens for

where but in the very asshole of come-down is
redemption: as where but brought low, where

but in the grief of failure, loss, error do we
discern the savage afflictions that turn us around:

where but in the arrangements love crawls us
through, not a thing left in our self-display

unhumiliated, do we find the sweet seed of
new routes: but we are natural: nature, not

we, gave rise to us: we are not, though, though
natural, divorced from higher, finer configurations:

tissues and holograms and energy circulate in
us and seek and find representations of themselves

outside us, so that we can participate in
celebrations high and know reaches of feeling

and sight and thought that penetrate (really
penetrate) far, far beyond these our wet cells,

right on up past our stories, the planets, moons,
and other bodies locally to the other end of

the pole where matter's forms diffuse and
energy loses all means to express itself except

as spirit, there, oh, yes, in the abiding where
mind but nothing else abides, the eternal,

until it turns into another pear or sunfish,
that momentary glint in the fisheye having

been there so long, coming and going, it's
eternity's glint: it all wraps back round,

into and out of form, palpable and impalpable,
and in one phase, the one of grief and love,

we know the other, where everlastingness comes to
sway, okay and smooth: the heaven we mostly

want, though, is this jet-hoveled hell back,
heaven's daunting asshole: one must write and

rewrite till one writes it right: if I'm in
touch, she said, then I've got an edge: what

the hell kind of talk is that: I can't believe
I'm merely an old person: whose mother is dead,

whose father is gone and many of whose
friends and associates have wended away to the

ground, which is only heavy wind, or to ashes,
a lighter breeze: but it was all quite frankly

to be expected and not looked forward to: even
old trees, I remember some of them, where they

used to stand: pictures taken by some of them:
and old dogs, specially one imperial black one,

quad dogs with their hierarchies (another archie)
one succeeding another, the barking and romping

sliding away like slides from a projector: what
were they then that are what they are now:

III

toxic waste, poison air, beach goo, eroded
roads draw nations together, wher...

Edition details

• Publisher: Scribner
• Publication date: 1998
• ISBN 10: 0684847795
• ISBN 13: 9780684847795
• Binding: Paperback
• Language: English
• Edition number: 1
• Number of pages: 384
• Editor: Lehman David