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Dawn Night Fall
Dawn Night Fall in Bloomington, MN
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Dawn Night Fall,
by
Gordon
Grigsby
In lines that are taut, lean and lucid, Gordon Grigsby’s poems embody the substrate and the epic story of the world from which we came and in which we now struggle to survive. This is a necessary, indeed an essential book for our time. —Ernest Lockridge’s most recent book:
Skeleton Key to the Suicide of My Father Ross Lockridge,
Jr, author of
Raintree County
In poem after piercing poem—“The Light Here,” “An Ocean Sound,” “Nancy’s Sandwich Shop Heightened Consciousness”—Grigsby weaves our intense human moments of love, sorrow, or joy into the beauty and grandeur of our indifferent earth. The art of his vision is unique and invaluable. —Julian Markels, author of
The Marxian Imagination
Like James Wright before him, Gordon Grigsby is an essential Mid-Western poet, a hard-scrabbled farmer of words, a steel-worker tending to the furnaces of an imagination that flares in darkness: "the praised madness that trembles the air." The geography of Ohio, the names of its vanished Indian tribes, the smell of a dead child and the poisoned rain, are here given their full measure of terrible beauty. —Michael Salcman, author of
The Clock Made of Confetti
and
The Enemy of Good Is Better
Dawn Night Fall
explores the interplay between sorrow and hope, tragic realities and the mind’s freedom, through startlingly original images and ideas. As in Walden, Grigsby uses his house on a small river in Mt. Air, Ohio as a way into the natural world, ancient and personal history, world travels, and complex combinations of pain and luminosity: ashes of a premature baby, woman and children waiting in corrugated tin shanties, a loved father lonely in Sun City, the glow of needles on a forest floor, streetlamp glint on everyone’s hair. Readers are richly rewarded for his extraordinary vision. —Jan Schmittauer, Associate Professor, Ohio University
These are wise, beautiful poems of love and loss, an elegiac celebration of our brief moments in human history and the natural world. No leaf, no strand of seaweed is too small to escape Grigsby’s tender attention, as he recalls places and people who spring brilliantly to life through his words. —Donna Spector, author of
The Woman Who Married Herself
Gordon Grigsby’s poems are wonderfully attuned to his world, his time—to our world, our time. His work powerfully evokes how he and we experience “double living,” always “stepping twice in the same river.” The history he thus calls up is ancient, recent, and contemporary. And it is universal (through the particular, as in “Hotel on the Cliff at Delphi, November 2002”), cultural (as in “The Hurricane, Robin Hood, and the Bounty,” where we get an ode to Jon Hall, Errol Flynn, and Clark Gable), and intensely personal (as in the past life and relationships brought out in poems like “The Vanished Motel”).
is a deeply moving collection. —Morris Beja, author of
James Joyce: A Literary Life
Tell Us About . . . A Memoir
.
by
Gordon
Grigsby
In lines that are taut, lean and lucid, Gordon Grigsby’s poems embody the substrate and the epic story of the world from which we came and in which we now struggle to survive. This is a necessary, indeed an essential book for our time. —Ernest Lockridge’s most recent book:
Skeleton Key to the Suicide of My Father Ross Lockridge,
Jr, author of
Raintree County
In poem after piercing poem—“The Light Here,” “An Ocean Sound,” “Nancy’s Sandwich Shop Heightened Consciousness”—Grigsby weaves our intense human moments of love, sorrow, or joy into the beauty and grandeur of our indifferent earth. The art of his vision is unique and invaluable. —Julian Markels, author of
The Marxian Imagination
Like James Wright before him, Gordon Grigsby is an essential Mid-Western poet, a hard-scrabbled farmer of words, a steel-worker tending to the furnaces of an imagination that flares in darkness: "the praised madness that trembles the air." The geography of Ohio, the names of its vanished Indian tribes, the smell of a dead child and the poisoned rain, are here given their full measure of terrible beauty. —Michael Salcman, author of
The Clock Made of Confetti
and
The Enemy of Good Is Better
Dawn Night Fall
explores the interplay between sorrow and hope, tragic realities and the mind’s freedom, through startlingly original images and ideas. As in Walden, Grigsby uses his house on a small river in Mt. Air, Ohio as a way into the natural world, ancient and personal history, world travels, and complex combinations of pain and luminosity: ashes of a premature baby, woman and children waiting in corrugated tin shanties, a loved father lonely in Sun City, the glow of needles on a forest floor, streetlamp glint on everyone’s hair. Readers are richly rewarded for his extraordinary vision. —Jan Schmittauer, Associate Professor, Ohio University
These are wise, beautiful poems of love and loss, an elegiac celebration of our brief moments in human history and the natural world. No leaf, no strand of seaweed is too small to escape Grigsby’s tender attention, as he recalls places and people who spring brilliantly to life through his words. —Donna Spector, author of
The Woman Who Married Herself
Gordon Grigsby’s poems are wonderfully attuned to his world, his time—to our world, our time. His work powerfully evokes how he and we experience “double living,” always “stepping twice in the same river.” The history he thus calls up is ancient, recent, and contemporary. And it is universal (through the particular, as in “Hotel on the Cliff at Delphi, November 2002”), cultural (as in “The Hurricane, Robin Hood, and the Bounty,” where we get an ode to Jon Hall, Errol Flynn, and Clark Gable), and intensely personal (as in the past life and relationships brought out in poems like “The Vanished Motel”).
is a deeply moving collection. —Morris Beja, author of
James Joyce: A Literary Life
Tell Us About . . . A Memoir
.
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