Foreword. Deep in admiration -- Relations. The small Indian pestle at the Applegate House -- Incense -- Kitchen spoons -- Earthenware -- Kinship -- Western outlaws -- The Canada Lynx -- The one thing missing -- Contemplations. In Ashland -- My house...
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Staatliche Hochschule für Bildende Künste, Städelschule, Bibliothek
Signature:
Magazin Lit Le Guin, U. 2016
Inter-library loan:
No loan of volumes, only paper copies will be sent
Foreword. Deep in admiration -- Relations. The small Indian pestle at the Applegate House -- Incense -- Kitchen spoons -- Earthenware -- Kinship -- Western outlaws -- The Canada Lynx -- The one thing missing -- Contemplations. In Ashland -- My house -- Contemplation at McCoy Creek -- Constellating -- Hymn to time -- Whiteness -- Geology of the northwest coast -- Hymn to Aphrodite -- Messengers. Element 80 -- The story -- Arion -- Messages -- The dream stone -- Hermes betrayed -- Four lines. The salt -- March -- Harney County catenaries -- Artemisia Tridentata -- Ecola -- Written in the dark -- Song -- Night sounds -- Works. Orders -- The games -- To her task-master -- Definition, or, seeing the horse -- Dead languages -- California landscape paintings at the Portland Art Museum -- My job -- Times. New Year's Day -- Seasonal lines -- October -- Sea Hallowe'en -- Between -- Writing twilight -- The old music. The old music -- Disremembering -- Crossing the Cascades -- Sorrowsong -- The old mad queen -- The pursuit -- 2014 : a hymn -- Envoi. The mist horse -- Afterword. Form, free verse, free form : some thoughts -- Postscript. There is no writer with an imagination as forceful and delicate as Ursula K. Le Guin's. --Grace Paley Late in the Day, Ursula K. Le Guin's new collection of poems (2010-2014) seeks meaning in an ever-connected world. In part evocative of Neruda's Odes to Common Things and Mary Oliver's poetic guides to the natural world, Le Guin's latest give voice to objects that may not speak a human language but communicate with us nevertheless through and about the seasonal rhythms of the earth, the minute and the vast, the ordinary and the mythological. As Le Guin herself states, science explicates, poetry implicates. Accordingly, this immersive, tender collection implicates us (in the best sense) in a subjectivity of everyday objects and occurrences. Deceptively simple in form, the poems stand as an invitation both to dive deep and to step outside of ourselves and our common narratives. The poems are bookended with two short essays, Deep in Admiration and Some Thoughts on Form, Free Form, Free Verse
Includes foreword, a talk given at the conference "Anthropocene: Arts of Living on a Damaged Planet" at UC Santa Cruz, May 2014, and postscript, a speech in acceptance of the National Book Foundation Medal for Distinguished Contribution to American Letters, November 2014
