Moving from Paris to Beirut and back, Calligraphies is a tribute to exiles and refugees, the known and unknown, dead and living, from the American poet Marie Ponsot to the Syrian pasionaria Fadwa Suleiman. Award-winning poet Marilyn Hacker finds resistance, wit, potential, and gleaming connection in everyday moments—a lunch of “standing near the fridge with / labneh, two verbs, and a spoon”—as a counterweight to the precarity of existence. In a variety of tones and formal registers, from vivid crowns of sonnets to insistent ghazals to riffs on the renga, Calligraphies explores a world opened up by language.
From “Listen”
I write stories, but the language hasn’t claimed me,
Marilyn Hacker is an American poet, translator, critic, and professor of English.
Her books of poetry include Presentation Piece (1974), which won the National Book Award, Love, Death, and the Changing of the Seasons (1986), and Going Back to the River (1990). In 2009, Hacker won the PEN Award for Poetry in Translation for King of a Hundred Horsemen by Marie Étienne, which also garnered the first Robert Fagles Translation Prize from the National Poetry Series. In 2010, she received the PEN/Voelcker Award for Poetry. She was shortlisted for the 2013 PEN Award for Poetry in Translation for her translation of Tales of A Severed Head by Rachida Madani.
Read (belatedly) for Poetry with Pat. Ghazals, Pantoums, Calligraphies, oh my! These highly structured poems challenged this reader who usually enjoys a more anything goes kind of style (as long as the poem is on the short side). These poems, written of war zones both political and ideological, and within those distancing days of the coronavirus pandemic, place our masks over our faces, making each breath a struggle - in a good way? The poems are mostly numbered so the titles don’t really jump out so I guess you’ll just have to read some and find out which are your favorites.
A book I have been carrying in my backpack for the past couple months. Waking up to poetry again ever since Marilyn Hacker's "Montpeyroux Sonnets 7" was featured in the Poem of the Day earlier this year. I printed it out, then gave it away. I'm so disappointed it isn't included in this Calligraphies collection, which ends with "Montpeyroux Sonnets 5." So now I know there is a 6th to look for. A collection of political grief / apolitical despair, covid, aging, language, loss, sonnets, ghazals, damn.
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Two languages, two books, stay shut, while in- stead of reading, I let sunlight fill the question/answer blanks inside my head
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known by pen, night, desert, sword. My horse and my notebook think
what am I thinking through an orgy of cadence. I loved one woman
whose heart gave out when she read my letter, that I'd return.
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Remember longing when it was legitimate, remember writing
in an emerging language, given words by desire for
what? To still be young in a world not besotted with its oligarchs?
Hacker writes crown sonnets and ghazals like nobody’s business. This breathtaking collection describes the pandemic years and its devastating losses with the keen eye of a poet whose vision never blurs, whose insight never dims despite the “dark times” that loom ahead.
Favorite Poems: “Ghazal: Myself” (wowza!) “Pantoum” “Calligraphies IV” “Calligraphies V” “Ghazal: Your Face” “Ghazal: The Dark Times” “Calligraphies VIII” “Calligraphies IX” “Listen” “Ghazal: This Winter” “Ghazal: [Out]” “Calligraphies XI” “For Marie Ponsot, Remembering” “Ghazal: [Heart]” “Ghazal: Beirut” “Montpeyroux Sonnets 5”
some of these suffered from being specific almost to the point of meaninglessness for the reader; like it’s clearly about something personal to the poet, but without context i can’t glean anything from what little is given in the text. that said, i really appreciated the attention to form throughout the collection.
This collection made me feel physically unwell as all collections by diaspora discussing the refuge of their families through their war-torn home countries does