PRAISE FOR VIRTUE, BIG AS SIN:
Frank Osen’s Virtue, Big as Sin offers one witty, elegant poem after another. The rhymes are especially clever, the meter sure, the stanzas well-shaped, but this poet’s sense of proportion is also reflected in wisdom (and what is wisdom but a sense of proportion?). An urbane maker of sparkling phrases like “that genuine Ur of the ersatz,” Osen can also write plainly, movingly, about a young girl’s funeral. And he reflects often on art itself, which he so rightly calls “the conjured awe.”
—Mary Jo Salter (Judge, 2012 Able Muse Book Award)
In his talent for tragedy and comedy, and for mixing them, Osen takes his place in a distinguished line of English-language poets that runs from Chaucer and Shakespeare down to our day.
—Timothy Steele (from the afterword)
Reading Virtue, Big as Sin has left me with the sense of satisfaction and enduring pleasure that really good poetry always produces, even when it also does the rest of what honest writing may do: confirm suspicions about ourselves we wish we could refute, bring to mind aspects of nature we’d rather forget, and deliver alarming news about the future, both public and private. Frank Osen does all of this and much more, all with grace and wit, in language that makes the messenger thoroughly “one of us.”
—Rhina P. Espaillat
Frank Osen’s poems revel in beauty and pleasure, in technical dexterity and high-gloss finish. Readers who care about such things will be abundantly rewarded. But the reveling is haunted by loss, awful possibilities of failure, a nothingness glimpsed beneath the carnival. One of Osen’s avowed tutelary spirits is Wallace Stevens, and his probing of his subjects can often seem like an extended, heart-wrenching commentary on Stevens’s line, “Death is the mother of Beauty.” The fragility of beauty, the omnipresence of death, and the intimate connections between them, are everywhere present in these marvelously heartening and effective poems.
Frank Osen was born in Yokosuka, Japan, in 1954, grew up in Southern California, and is a graduate of the University of California at Berkeley and Loyola Law School in Los Angeles. He worked for many years in law, as general counsel to health care companies and also in real estate investment. He lives in Pasadena, California, and walks to work at the Huntington Library. He and his wife, Susan, have been married for thirty years and have three grown children. Virtue, Big as Sin is his first full-length collection and the winner of the 2012 Able Muse Book Award.
PRAISE FOR THE BORROWED WORLD:
In The Borrowed World, Emily Leithauser’s formal mastery—her consummate knack for writing lines and sentences as crisp and elegant as the Edo prints to which she pays homage—entwines with the sheer immediacy and vulnerability of the poet’s voice. Leithauser portrays the inevitability of loss, in romantic and familial relationships, and yet, without ever offering false resolutions or pat conclusions, she manages to make her poems themselves convincing stays against loss. I mean that this book is made to endure. The Borrowed World marks the arrival of a major talent.
—Peter Campion, 2015 Able Muse Book Award judge, author of El Dorado
Emily Leithauser’s first collection, The Borrowed World, is an elegant meditation on inheritance, the vagaries of love and loss, familial relations—with all the devastating implosions within—and our relationship to the past filtered through the flawed lens of memory. These are deeply felt poems and Leithauser has a finely-tuned ear for the lyricism of syntax and the enduring rhythms of traditional forms. The Borrowed World is her stunning debut.
—Natasha Trethewey, 2012–2014 US Poet Laureate, author of Thrall
If her intensely accurate perceptions of the physical world and the beautiful forms in which she sets those perceptions were all that Emily Leithauser gave us in these poems, they would be more than enough to satisfy the hungriest poetry reader. But step by perspicuous step, in poem after poem, she enlarges and encompasses, she broadens and deepens and transmutes perception into feeling, feeling into thought, and thought into revelation.
—Vijay Seshadri, winner of the Pulitzer Prize, author of 3 Sections
Love poems, family poems, narrative poems: The Borrowed World is a moving and memorable debut which covers a lot of ground but is always rooted in actualities. The poems are very well-made, too, but their equally great distinction is to be well-felt—subtle in their account of the observing “I,” and simultaneously generous and shrewd in their understanding of others. Page by page, they create a series of powerful cameos; taken as a whole, their larger purpose emerges: to register what can be known and (especially) not known about our lives as individuals, and to value what time allows us to enjoy on earth, while admitting the brevity of our stay here.
—Andrew Motion, 1999–2009 UK Poet Laureate, author of The Customs House
I have read The Borrowed World several times, and each time I find more in it to be delighted and touched by. Emily Leithauser’s art waits for you, and I am sure that you will be as pleased and moved by it as I have been.
—Michael Palma (from the foreword), author of Begin in Gladness