Quiver of Arrows is a generous gathering from Carl Phillips's work that showcases the twenty-year evolution of one of America's most distinctive—and one of poetry's most essential—contemporary voices. Hailed from the beginning of his career for a poetry provocative in its candor, uncompromising in its inquiry, and at once rigorous and innovative in its attention to craft,Quiver of Arrows is a generous gathering from Carl Phillips's work that showcases the twenty-year evolution of one of America's most distinctive—and one of poetry's most essential—contemporary voices. Hailed from the beginning of his career for a poetry provocative in its candor, uncompromising in its inquiry, and at once rigorous and innovative in its attention to craft, Phillips has in the course of eight critically acclaimed collections generated a sustained meditation on the restless and ever-shifting myth of human identity. Desire and loss, mastery and subjugation, belief and doubt, sex, animal instinct, human reason: these are among the lenses through which Phillips examines what it means to be that most bewildering, irresolvable conundrum, a human being in the world.Phillips's sensibility as he questions morality, psychology, and our notions of responsibility is as startlingly original as the poems themselves, whose exacting standards for the line's flexibility and whose argument for a versatile, more muscular syntax bring to American poetry "something not unlike a new musical scale" (The Miami Herald). Quiver of Arrows is the record of a powerful vision that, in its illumination of the human condition, has established itself as a necessary step toward our understanding of who we are in the twenty-first century....
|Title||:||Quiver of Arrows: Selected Poems, 1986-2006|
|Number of Pages||:||224 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Quiver of Arrows: Selected Poems, 1986-2006 Reviews
Themes: transgression, body/soul split, sacred/profane, nature, perception, intimacy, human/animal, all explored by in almost trance-like voice. The way he uses syntax and lineation to reveal the shape of the poem's thinking, the way the syntax weaves down the page-- just breathtaking. So much of Stevens in here...I love Stevens, so I'm cool with that.
Reading his poems in The New Yorker, I have always been struck by their air of quiet intelligence. When I heard him read at last year's Sarah Lawrence Poetry Festival, I thought, here was the real thing. The authority of experience, thought and craft. The testing faith in language. The last three days of my spring break were spent reading his Selected Poems, Quiver of Arrows, and the experience was akin to falling in love. The poems describe a rich interior landscape--love, grief, reason, violence--in syntax that grows increasingly baroque in the later books. The late style of Henry James comes to mind, especially when later poems refer to the need for "fine discriminations." The complex sentences are broken up, refracted, sounded, by the use of short lines, and so the versification produces an extremely private, meditative and yet dramatic voice, a voice that weighs its sound at every turn. In some poems these discriminations could be refined into airy nothings; they don't have the grounding of novelistic plot. But the best poems qualify heartbreak into knowledge. Read straight through, the books also seem to develop a personal system of symbols. Besides the recurrent image of the bruise--and the magical return to unbruised flesh--other symbols like the horse and the arrow acquire complex meanings. The horse is, among many things, animal, sex, captain, the West. The phallic arrow points to the linearity of lives. The title of the collection comes from the great poem "As from a Quiver of Arrows," about the death of a friend. The poem's litany of questions enact the grief and angst of those left behind in a quiver. Other favorite poems are "X," "Death of the Sibyl," "Alba: Innocence," "From the Devotions," "A Kind of Meadow," "The Gods Leaving," "The Kill," "The Point of the Lambs," "As a Blow, from the West," "Late Apollo," "White Dog," "Bright World," "Forecast," and "Break of Day." The religion in many of these poems is suffused with light while acknowledging the shadows. It listens for the bell, and the dying of the bell.
I'm so happy to have interacted with more of his body of work. Many poems in this collection carry the dull but strangely satisfying pain of a hard pinch. Carl Phillips brings the body and its boundaries so close that you must engage. I would recommend this book to someone looking to read one of the most consistent voices in contemporary, masculine, beautiful poetry.
A lot of breathtakingly beautiful poems, some like mini-philosophical treatises. The later work is a bit dense but still gorgeous.
I really don't understand why Carl Phillips is not better known. Based on this collection, he is one of the greatest poets of the last century. Wonderful stuff.
madly in love with the density of phillips' language and the vocabulary and symbolism he builds into his own lush nest. so much inspiration here.
I thought the earlier poems brilliant - connected fully. Reading many of the later works, I found my mind wandering away from the wandering language then snapping back for the often powerful ending.