Bewilderment
New Poems and Translations
Bewilderment
New Poems and Translations
Winner of the 2012 National Book Award for Poetry.
To read David Ferry’s Bewilderment is to be reminded that poetry of the highest order can be made by the subtlest of means. The passionate nature and originality of Ferry’s prosodic daring works astonishing transformations that take your breath away. In poem after poem, his diction modulates beautifully between plainspoken high eloquence and colloquial vigor, making his distinctive speech one of the most interesting and ravishing achievements of the past half century. Ferry has fully realized both the potential for vocal expressiveness in his phrasing and the way his phrasing plays against—and with—his genius for metrical variation. His vocal phrasing thus becomes an amazingly flexible instrument of psychological and spiritual inquiry. Most poets write inside a very narrow range of experience and feeling, whether in free or metered verse. But Ferry’s use of meter tends to enhance the colloquial nature of his writing, while giving him access to an immense variety of feeling. Sometimes that feeling is so powerful it’s like witnessing a volcanologist taking measurements in the midst of an eruption.
From Bewilderment:
October
The day was hot, and entirely breathless, so
The remarkably quiet remarkably steady leaf fall
Seemed as if it had no cause at all.
The ticking sound of falling leaves was like
The ticking sound of gentle rainfall as
They gently fell on leaves already fallen,
Or as, when as they passed them in their falling,
Now and again it happened that one of them touched
One or another leaf as yet not falling,
Still clinging to the idea of being summer:
As if the leaves that were falling, but not the day,
Had read, and understood, the calendar.
Reviews
Table of Contents
ONE
Narcissus
Found Single-Line Poems
One Two Three Four Five
Soul
Untitled
The Intention of Things
Your Personal God (From Horace, Epistles II.2)
TWO
Dedication to His Book (Catullus I)
Brunswick, Maine, Early Winter, 2000
Martial I.101
Measure 100
Ancestral Lines
Entreaty
October
Spring (From Virgil, Georgics II)
Anguilla (Eugenio Montale, “L’Anguilla”)
In the Reading Room
THREE
Coffee Lips
Incubus
At the Street Corner (Rilke, “Das Lied des Zwerges”)
The Late-Hour Poem
At a Bar
To Varus (Horace, Odes I.18)
Somebody in a Bar
In Despair (Cavafy, “En Apognosi”)
Dido in Despair (From Virgil, Aeneid IV)
Catullus II
Virgil, Aeneid II
Thermopylae (Cavafy, “Thermopylae”)
FOUR
Street Scene
Willoughby Spit
Everybody’s Tree
FIVE
The Offering of Isaac (From Genesis A, Anglo-Saxon)
SIX
Reading Arthur Gold’s Poem “Chest Cancer”
Reading Arthur Gold’s “Trolley Poem”
Reading Arthur Gold’s Poem “On the Beach at Asbury”
Reading Arthur Gold’s Poem “Rome, December 1973”
Virgil, Aeneid VI
Reading Arthur Gold’s Prose Poem “Allegory”
Looking, Where Is the Mailbox?
SEVEN
Orpheus and Eurydice (From Virgil, Georgics IV)
Lake Water
The White Skunk
Virgil, Aeneid VI
That Now Are Wild and Do Not Remember
Untitled Dream Poem
EIGHT
The Departure from Fallen Troy (From Virgil, Aeneid II)
to where
Resemblance
Scrim
Poem
The Birds
Notes
Awards
National Book Foundation: National Book Awards
Won
National Book Critics Circle Board: National Book Critics Circle Award
Finalist
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