Imatge de l'autor

James Merrill (1926–1995)

Autor/a de The Changing Light at Sandover

59+ obres 1,858 Membres 17 Ressenyes 12 preferits

Sobre l'autor

Crèdit de la imatge: Courtesy of University of Arizona Poetry Center


Obres de James Merrill

The Changing Light at Sandover (1982) 364 exemplars
Collected Poems (2001) 320 exemplars
Selected Poems, 1946-1985 (1992) 149 exemplars
A Different Person: A Memoir (1993) 126 exemplars
A Scattering of Salts (1995) 97 exemplars
The (Diblos) Notebook (1965) 73 exemplars
Divine Comedies (1976) 67 exemplars
Collected Novels and Plays (2002) 58 exemplars
Inner Room (1988) 53 exemplars
Recitative: Prose (1986) 41 exemplars
Mirabell: Books of Number (1978) 39 exemplars
Scripts for the Pageant (1980) 39 exemplars
Collected Prose (2004) 38 exemplars
Nights and Days (1963) 37 exemplars
Late Settings (1985) 30 exemplars
Braving the elements; poems (1972) 28 exemplars
The Fire Screen (1969) 27 exemplars
Water Street (1962) 22 exemplars
The seraglio (1957) 16 exemplars
The Book of Ephraim (2018) 12 exemplars
The yellow pages: 59 poems (1974) 6 exemplars
Voices From Sandover (1982) 5 exemplars
FIRST POEMS (1951) 3 exemplars
From the cutting-room floor (1983) 3 exemplars
Metamorphosis of 741 (SC) (1977) 2 exemplars
Casas Reflejadas 2 exemplars
Log {poem} 1 exemplars
Samos 1 exemplars
Marbled Paper (SC) (1982) 1 exemplars
Three Poems (1988) 1 exemplars
Nine Lives 1 exemplars
Five Inscriptions 1 exemplars
Souvenirs (SC) (1984) 1 exemplars
Peter (1982) 1 exemplars
Ideas, Etc. (SC) 1 exemplars
Days of 1935 {poem} 1 exemplars
Wybor poezji (1990) 1 exemplars

Obres associades

The Making of a Poem: A Norton Anthology of Poetic Forms (2000) — Col·laborador — 1,260 exemplars
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Col·laborador, algunes edicions915 exemplars
The Vintage Book of Contemporary American Poetry (1990) — Col·laborador — 753 exemplars
A Pocket Book of Modern Verse (1954) — Col·laborador, algunes edicions443 exemplars
Contemporary American Poetry (1962) — Col·laborador, algunes edicions384 exemplars
Writing New York: A Literary Anthology (1998) — Col·laborador — 277 exemplars
The Art of Losing (2010) — Col·laborador — 199 exemplars
Poems Bewitched and Haunted (Everyman's Library Pocket Poets) (2005) — Col·laborador — 189 exemplars
Gay and Lesbian Poetry in Our Time (Stonewall Inn Editions) (1836) — Col·laborador — 179 exemplars
The Best American Poetry 1994 (1994) — Col·laborador — 172 exemplars
The Best American Poetry 1996 (1996) — Col·laborador — 170 exemplars
American Religious Poems: An Anthology (2006) — Col·laborador — 162 exemplars
The Faber Book of Beasts (1997) — Col·laborador — 141 exemplars
American Wits: An Anthology of Light Verse (2003) — Col·laborador — 135 exemplars
Becoming a Poet: Elizabeth Bishop with Marianne Moore and Robert Lowell (1938) — Epíleg, algunes edicions86 exemplars
Selected Poems (1965) — Traductor, algunes edicions81 exemplars
Man of My Dreams: Provocative Writing on Men Loving Men (1996) — Col·laborador — 76 exemplars
American Sonnets: An Anthology (2007) — Col·laborador — 66 exemplars
The Grim Reader: Writings on Death, Dying, and Living On (1997) — Col·laborador — 60 exemplars
Lament for the Makers: A Memorial Anthology (1996) — Col·laborador — 49 exemplars
Antaeus No. 75/76, Autumn 1994 - The Final Issue (1994) — Col·laborador — 32 exemplars
Persistent Voices: Poetry by Writers Lost to AIDS (2010) — Col·laborador — 32 exemplars
60 Years of American Poetry (1996) — Col·laborador — 28 exemplars
Queer Nature: A Poetry Anthology (2022) — Col·laborador — 15 exemplars
New World Writing: Second Mentor Selection (1952) — Col·laborador — 12 exemplars
The Paris Review 84 1982 Summer (1982) — Col·laborador — 6 exemplars
Playbook: Five Plays for a New Theater — Col·laborador — 5 exemplars
Locus Solus III-IV, New Poetry, A Special Double Issue (1962) — Col·laborador — 2 exemplars
Antaeus No. 18, Summer 1975 — Col·laborador — 2 exemplars


Coneixement comú



Europe in the 1950s from the vantage point of a young gay man, this very personal memoir recounts a short period in the life of one of our finest poets. I would recommend it both to fans of James Merrill and American poetry.
jwhenderson | Hi ha 1 ressenya més | May 13, 2023 |
Anyone who’s played with Ouija (rhymes with “squeegee”) boards knows how much good clean fun they are. There’s something wholesome, as well as thrilling, about producing text collectively — that is, if you don’t think you’re actually in touch with the beyond. But in my experience, if you look around the table, there are generally one or two people who’d be much more likely to come up with those cryptic memoranda on their own than the one or two others.

The more you think about the squeegee board, the less fun it is. And I think that’s true of The Book of Ephraim, too.

Merrill is a wonderful formal poet, in his element in the terza rima section or any of the casual dives into sonnets, couplets — or some gorgeous weighty hendecs in a late section. The problem is that so much of the subject matter is diaristic, to be charitable — navel-gazing, to be mean. Much of it revolves around the loss of a novel on the same subject (whatever that is) — I found myself wishing the novel had remained intact. Most of this long poem is just a couple of guys arsing around with a Ouija board. There are exceptions: I loved section P, which spirals from power in general to a full-on cold-war nightmare. But the panoply of characters come and go (talking of Michaelangelo). Half of them are just ghosts symbolic to Merrill and half are real (Maya Deren e.g.) but never really realized. The title fellow is the prime example of the former. The more I read of Eph’s all-caps, the more it sounded very much like a couple of well-educated aesthetes harmonizing. And not at all ancient. That’s the squeegee for you. Lots of fun at the time, best if you don’t write it down.

The only phrase I remember from my ouija days is “wend your way to Damascus, jaded though you are”.

My enjoyment of the poem was lessened by Yenser’s lickspittle annotations which frequently call our attention to how subtle, pertinent, or wonderful some vague reference or pretty construction is. But I want to end positively — JM is a god at putting words in the right order. If you like long poems with masterful metre, little connection to the world, absurdly arbitrary structures and no real sense of purpose, you’ll dig The Book of Ephraim.
… (més)
yarb | Jan 25, 2022 |
An odd novel, probably of enduring interest mostly because it is semi-autobiographical, and the author is a famous poet. It was panned by the TLS when originally released, and it's not really difficult to see why. In the afterword accompanying the book's republication thirty years later, Merrill acknowledges that he basically patched the novel together from a set of loosely connected fragments, an admission of laziness apt to make many readers feel ill used. I had trouble keeping track of the many minor characters, and it seems that other reviewers did as well. I think the novel's strengths are Merrill's descriptions of things and places--he has a lovely talent for using color in his prose. Recommend for readers interested in the lives of the extremely rich, and who have exhausted all other options. Also, of course, for Merrill fans.… (més)
gtross | Apr 18, 2020 |
A minor poet of the 1960'sJames Merrill ventures into novel writing. This un-inspired book is presented as a "Work in Progress" manuscript, with the dashes, underscores, and interpolations that word processing has happily rendered unnecessary for modern manuscriptions.
DinadansFriend | Hi ha 2 ressenyes més | Oct 23, 2019 |



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