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. Ferry's translations, meanwhile, are
amazingly acclimated English poems. Once his voice takes hold of
them they are as bred in the bone as all his other work. And the
translations in this book are vitally related to the original poems
around them.
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.
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