The Unstill Ones

Princeton Series of Contemporary Poets

Book 136
Princeton University Press
Free sample

An exciting debut collection of original poems and translations from Old English

An exciting debut collection of original poems and translations from Old English, The Unstill Ones takes readers into a timeless, shadow-filled world where new poems sound ancient, and ancient poems sound new. Award-winning scholar-poet Miller Oberman’s startlingly fresh translations of well-known and less familiar Old English poems often move between archaic and contemporary diction, while his original poems frequently draw on a compressed, tactile Old English lexicon and the powerful formal qualities of medieval verse.

Shaped by Oberman’s scholarly training in poetry, medieval language, translation, and queer theory, these remarkable poems explore sites of damage and transformation, both new and ancient. “Wulf and Eadwacer,” a radical new translation of a thousand-year-old lyric, merges scholarly practice with a queer- and feminist-inspired rendering, while original poems such as “On Trans” draw lyrical connections between multiple processes of change and boundary crossing, from translation to transgender identity. Richly combining scholarly rigor, a finely tuned contemporary aesthetic, and an inventiveness that springs from a deep knowledge of the earliest forms of English, The Unstill Ones marks the emergence of a major new voice in poetry.

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About the author

Miller Oberman has received a number of awards for his poetry, including a Ruth Lilly Fellowship, a 92Y Discovery Prize, and Poetry magazine’s John Frederick Nims Memorial Prize for Translation. His work has appeared in Poetry, London Review of Books, the Nation, Boston Review, Tin House, and Harvard Review. He lives in Brooklyn, New York.
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Additional Information

Publisher
Princeton University Press
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Published on
Sep 25, 2017
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Pages
96
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ISBN
9781400888771
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Language
English
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Genres
Literary Criticism / Poetry
Poetry / General
Poetry / Subjects & Themes / General
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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A new collection about violence and the rural Midwest from a poet whose first book was hailed as “memorable” (Stephanie Burt, Yale Review) and “impressive” (Chicago Tribune)

Flyover Country is a powerful collection of poems about violence: the violence we do to the land, to animals, to refugees, to the people of distant countries, and to one another. Drawing on memories of his childhood on a dairy farm in Illinois, Austin Smith explores the beauty and cruelty of rural life, challenging the idea that the American Midwest is mere “flyover country,” a place that deserves passing over. At the same time, the collection suggests that America itself has become a flyover country, carrying out drone strikes and surveillance abroad, locked in a state of perpetual war that Americans seem helpless to stop.

In these poems, midwestern barns and farmhouses are linked to other lands and times as if by psychic tunnels. A poem about a barn cat moving her kittens in the night because they have been discovered by a group of boys resonates with a poem about the house in Amsterdam where Anne Frank and her family hid from the Nazis. A poem beginning with a boy on a farmhouse porch idly swatting flies ends with the image of people fleeing before a drone strike. A poem about a barbwire fence suggests, if only metaphorically, the debate over immigration and borders. Though at times a dark book, the collection closes with a poem titled “The Light at the End,” suggesting the possibility of redemption and forgiveness.

Building on Smith’s reputation as an accessible and inventive poet with deep insights about rural America, Flyover Country also draws profound connections between the Midwest and the wider world.

Chosen by Pulitzer Prize-winning poet Paul Muldoon to relaunch the prestigious Princeton Series of Contemporary Poets under his editorship, The Eternal City revives Princeton's tradition of publishing some of today’s best poetry.

With an epigraph from Freud comparing the mind to a landscape in which all that ever was still persists, The Eternal City offers eloquent testimony to the struggle to make sense of the present through conversation with the past. Questioning what it means to possess and to be possessed by objects and technologies, Kathleen Graber’s collection brings together the elevated and the quotidian to make neighbors of Marcus Aurelius, Klaus Kinski, Walter Benjamin, and Johnny Depp. Like Aeneas, who escapes Troy carrying his father on his back, the speaker of these intellectually and emotionally ambitious poems juggles the weight of private and public history as she is transformed from settled resident to pilgrim.
______

From The Eternal City:
WHAT I MEANT TO SAY
Kathleen Graber ?

In three weeks I will be gone. Already my suitcase stands
overloaded at the door. I’ve packed, unpacked, & repacked it,
making it tell me again & again what it couldn’t hold.
Some days it’s easy to see the signifi cant insignificance
of everything, but today I wept all morning over the swollen,
optimistic heart of my mother’s favorite newscaster,
which suddenly blew itself to stillness. I have tried for weeks
to predict the weather on the other side of the world: I don’t want
to be wet or overheated. I’ve taken out The Complete Shakespeare
to make room for a slicker. And I’ve changed my mind
& put it back. Soon no one will know what I mean when I speak.
Last month, after graduation, a student stopped me just outside
the University gates despite a downpour. He wanted to tell me
that he loved best James Schuyler’s poem for Auden.
So much to remember, he recited in the rain, as the shops
began to close their doors around us. I thought he would live
a long time. He did not. Then, a car loaded with his friends
pulled up honking & he hopped in. There was no chance to linger
& talk. Today I slipped into the bag between two shoes that book
which begins with a father digging--even though my father
was no farmer & planted ever only one myrtle late in his life
& sat in the yard all that summer watching it grow as he died,
a green tank of oxygen suspirating behind him. If the suitcase
were any larger, no one could lift it. I’m going away for a long time,
but it may not be forever. There are tragedies I haven’t read.
Kyle, bundle up. You’re right. It’s hard to say simply what is true.
For Kyle Booten ?

A new collection about violence and the rural Midwest from a poet whose first book was hailed as “memorable” (Stephanie Burt, Yale Review) and “impressive” (Chicago Tribune)

Flyover Country is a powerful collection of poems about violence: the violence we do to the land, to animals, to refugees, to the people of distant countries, and to one another. Drawing on memories of his childhood on a dairy farm in Illinois, Austin Smith explores the beauty and cruelty of rural life, challenging the idea that the American Midwest is mere “flyover country,” a place that deserves passing over. At the same time, the collection suggests that America itself has become a flyover country, carrying out drone strikes and surveillance abroad, locked in a state of perpetual war that Americans seem helpless to stop.

In these poems, midwestern barns and farmhouses are linked to other lands and times as if by psychic tunnels. A poem about a barn cat moving her kittens in the night because they have been discovered by a group of boys resonates with a poem about the house in Amsterdam where Anne Frank and her family hid from the Nazis. A poem beginning with a boy on a farmhouse porch idly swatting flies ends with the image of people fleeing before a drone strike. A poem about a barbwire fence suggests, if only metaphorically, the debate over immigration and borders. Though at times a dark book, the collection closes with a poem titled “The Light at the End,” suggesting the possibility of redemption and forgiveness.

Building on Smith’s reputation as an accessible and inventive poet with deep insights about rural America, Flyover Country also draws profound connections between the Midwest and the wider world.

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