LEADER 05927nam 2200661 450 001 9910464467203321 005 20200520144314.0 010 $a0-8195-7451-1 035 $a(CKB)3710000000081876 035 $a(EBL)1584544 035 $a(SSID)ssj0001081668 035 $a(PQKBManifestationID)11580300 035 $a(PQKBTitleCode)TC0001081668 035 $a(PQKBWorkID)11090718 035 $a(PQKB)10717946 035 $a(MiAaPQ)EBC1584544 035 $a(OCoLC)732957537 035 $a(MdBmJHUP)muse34360 035 $a(Au-PeEL)EBL1584544 035 $a(CaPaEBR)ebr10824329 035 $a(OCoLC)867317222 035 $a(EXLCZ)993710000000081876 100 $a20140117d2008 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe collected poems of Barbara Guest /$fBarbara Guest ; edited by Hadley Haden Guest ; cover illustration by Barbara Guest ; photography Thomas Bachand 210 1$aMiddletown, Connecticut :$cWesleyan University Press,$d2008. 210 4$dİ2008 215 $a1 online resource (559 p.) 225 0$aWesleyan poetry 300 $aIncludes bibliographical references and index. 311 $a0-8195-6860-0 320 $aIncludes bibliographical references and index. 327 $aCover; The Collected Poems of Barbara Guest; Title; Copyright; Contents; Introduction: Fair Realist by Peter Gizzi; Timeline; Works by Barbara Guest; Notes and Acknowledgments; The Location of Things Archaics The Open Skies (1962); The Location of Things; Piazzas; All Grey-haired My Sisters; Windy Afternoon; Russians at the Beach; The Hero Leaves His Ship; Les Re?alite?s; In the Middle of the Easel; On the Way to Dumbarton Oaks; Cape Canaveral; Sunday Evening; Parachutes, My Love, Could Carry Us Higher; The Crisis; Upside Down; Seeing You Off; Safe Flights; Sadness; Jaffa Juce; In Dock 327 $aPeople in Wartime Landing; History; Oriental Movie; The Crisis; West Sixty-fourth Street; The Time of Day; Herioc Stages; In America, the Seasons; Belgravia; In the Alps; The Past of a Poem; Archaics; Atalanta in Arcadia; "From Eyes Blue and Cold"; Dido to Aeneas; Green Awnings; Palm Trees; In the Campagna; "Who will accept our offering at this end of autumn?"; The Open Skies; The Voice Tree; Lights of My Eyes; Snow Angel; Santa Fe Trail; Nocturne; The First of May; Dardanella; The Brown Studio; All Elegies Are Black and White; The Open Skies; Hurricane; His Jungle; Timor Mortis, Florida; Sand 327 $aWave Geography; The Blue Stairs (1968); The Blue Stairs; Turkey Villas; Walking Buddha; Colonial Hours; Saving Tallow; The Return of the Muses; A Reason; Direction; Barrels; East of Omsk; Parade's End; Clouds Near the Windmill; Fan Poems; A Way of Being; Four Moroccan Studies; 20; A Handbook of Surfing; I Ching (1969); I Ching; Moscow Mansions (1973); Red Lilies; Illyria; Egypt; Nebraska; On Mt. Snowdon; Rosy Ensconcements; Even Ovid; The Interruptions; Moscow Mansions 1; Moscow Mansions 2; Knight of the Swan; Carmen; Museum; Byron's Signatories; The Poetess; Losing People; The Poem Lying Down 327 $aSassafras Circassians; Another July; Drawing a Blank; Stupid Physical Pain; Roses; Lights of My Eyes; Passage; Hohenzollern; The Stragglers; Olivetti Ode; On the Verge of the Path; Gravel; Bicycling; Shifting the Iris; Green Revolutions; Poem; Evening; The Old Silk Road; Now; The Countess from Minneapolis (1976); 1; 2; 3: 50 Floors; 4: Thinking of You Prokofief; 5: River Road Studio; 6: Portrait of Mary Rood; 7: Eating Lake Superior Cisco Smoked Fish; 8:Musings on the Mississippi; 9: Legends; 10; 11; 12: Prairie Houses; 13; 14; 15: At the Guthrie Theater; 16; 17: Persians in Minneapolis; 18 327 $a19: (Scop-A Poet) Widsith 20; 21; 22; 23; 24; 25; 26; 27; 28; 29; 30; 31; 32; 33; 34; 35: Crocus Hill; 36; 37: Activities; 38; 39: June; 40; 41; 42: Amaryllis; The Tu?rler Losses (1979); The Tu?rler Losses; Biography (1980); One; Two; Three; Four; Five; Six; Seven; Eight; Nine; Quilts (1980); Quilts; Musicality (1988); Musicality; Fair Realism (1989); Wild Gardens Overlooked by Night Lights; La Noche Entra en Calor; The View from Kandinsky's Window; The Thread; Ilex; Spring Vine; Dora Maar; An Emphasis Falls on Reality; Valuable Mo?rike; The Rose Marble Table; Shuffling Light 327 $aThe Screen of Distance 330 1 $a"One of the most notable members of the New York School - and its best-known woman - Barbara Guest began writing poetry in the 1950's in company that included John Ashbery, Kenneth Koch, Frank O'Hara, and Tames Schuyler. And from the beginning, her practice placed her at the vanguard of American writing. Guest's poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest's remarkable visionary work. The Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing - seemingly simple, but truly and beautifully dislocating."--BOOK JACKET. 410 0$aWesleyan poetry. 606 $aPoetry, Modern$y20th century 608 $aElectronic books. 615 0$aPoetry, Modern 676 $a811/.54 700 $aGuest$b Barbara$0700029 701 $aGuest$b Hadley Haden$01027090 701 $aBachand$b Thomas$01027091 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910464467203321 996 $aThe collected poems of Barbara Guest$92442347 997 $aUNINA