Modern Poetry
Poems
by Diane Seuss
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Pub Date Mar 05 2024 | Archive Date Feb 29 2024
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Description
FINALIST FOR THE 2024 NATIONAL BOOK AWARD FOR POETRY
WINNER OF THE 2024 HEARTLAND BOOKSELLERS AWARD FOR POETRY
Diane Seuss’s signature voice—audacious in its honesty, virtuosic in its artistry, outsider in its attitude—has become one of the most original in contemporary poetry. Her latest collection takes its title, Modern Poetry, from the first textbook Seuss encountered as a child and the first poetry course she took in college, as an enrapt but ill-equipped student, one who felt poetry was beyond her reach. Many of the poems make use of the forms and terms of musical and poetic craft—ballad, fugue, aria, refrain, coda—and contend with the works of writers overrepresented in textbooks and anthologies and those too often underrepresented. Seuss provides a moving account of her picaresque years and their uncertainties, and in the process, she enters the realm between Modernism and Romanticism, between romance and objectivity, with Keats as ghost, lover, and interlocutor.
In poems of rangy curiosity, sharp humor, and illuminating self-scrutiny, Modern Poetry investigates our time’s deep isolation and divisiveness and asks: What can poetry be now? Do poems still have the capacity to mean? “It seems wrong / to curl now within the confines / of a poem,” Seuss writes. “You can’t hide / from what you made / inside what you made.” What she finds there, finally, is a surprising but unmistakable love.
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Available Editions
EDITION | Other Format |
ISBN | 9781644452752 |
PRICE | $26.00 (USD) |
PAGES | 112 |
Available on NetGalley
Featured Reviews
Diane Seuss' Modern Poetry exhibits poetic moments from the past, with a lot of modernism and deeper meanings. Thanks you to Graywolf Press and NetGalley for giving me a opportunity to read these collection of poems in order to do a review.
Diane Seuss is back and better than ever. Her trademark vulnerability and deceptive simplicity are stronger than ever in this new collection, that, among other things reckons with poetry's past and its potential future.
I will admit that I have grown skeptical of critiques of the "canon" which I often find reductive, repetitive, and devoid of real attention to the work one means to critique. However, that is not at all the case here. Suess brings questions of class and gender to the forefront here while still managing to interact with the poets of the past in a way that feels like a real dialogue. It also helps that her insights are often hilarious. Her invocation of Keats is especially moving and the last poem in the book, which takes after his Ode to the Nightingale, is a personal favorite.