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Springing: New and Selected Poems, by Marie Ponsot
Free Ebook Springing: New and Selected Poems, by Marie Ponsot
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From the award-winning author of The Bird Catcher, this life-spanning volume offers the delight of both discovery and re-discovery, as Ponsot tends the unruly garden of her mind with her customary care and passion. The book opens with a group of new poems, including “What Would You Like to Be When You Grow Up?”—a question that has kept Ponsot’s work vital for more than five decades. Throughout the selections from her four earlier books and a trove of previously unpublished work covering the years 1946 to 1971, she offers us a “lost haven in a springing world.” Sometimes sharp in her self-perception, but always listing toward pleasure and elegance, unafraid of grief and the passage of time, Ponsot continually refreshes her language and the spirited self from which it emerges.
- Sales Rank: #1769977 in Books
- Published on: 2002-03-12
- Released on: 2002-03-12
- Original language: English
- Number of items: 1
- Dimensions: 8.66" h x .93" w x 6.16" l,
- Binding: Hardcover
- 256 pages
From Publishers Weekly
"If leaf-trash chokes the stream bed, reach for rock-bottom as you rake the muck out," writes Ponsot in one of the 26 new poems of this collection, and the lines might well serve as its wry motto. Springing takes readers on a tour of a quirky, start-stop career, presenting, along with the new work, nine poems from True Minds (1956), 22 from Admit Impediment (1981), 26 from The Green Dark (1988), 19 from The Bird Catcher (which won the 1998 NBCC Award) and 26 other previously uncollected poems from 1948 to 1971. The 25-year pause in book publication would seem to reflect a period of domestic life, documented in the uncollected work ("watching you strike worldly poses flirting excited with someone's arch French wife") and ending in "For a Divorce," which opens the Admit Impediment section: "Asked why we ever married, I smile and mention the arbitrary fierce glance of the working artist that blazed sometimes in your face but can't picture it." Ponsot's poems are built around just such unflinching observations of intimate interactions and misfires, whether of familial relations ventriloquized through updated Greek dramatis personae, a French woman's accommodation of her mother's married lover or the self's castings about the natural world, "space recast as flatness, long diminishings of blue borne lightly." If the new and uncollected work doesn't have the focus of the trio of books beginning in the '80s, this selection evinces the larger-scale, muckraking pursuit of artifice's underside that Ponsot's speaker so wonderfully produces poem by poem, "smaller and more human than belief." As she writes in "Gliding": "I envision the next leap, the next thousand years of practice, the eventual skill become like independent flight, habitual." Readers will look forward to those practice sessions.
Copyright 2002 Cahners Business Information, Inc.
From Library Journal
Even when they appear simple, Ponsot's poems can be difficult; they require both an attentive mind and a sharp ear. Her language is daring and playful, a challenge and a delight: "What would it be to be water, one body of water/ (what water is is another mystery)." In more than 50 years of writing, few subjects seem to have eluded Ponsot's attention. Here are poems of fable and history, of social and intellectual concern, but the strongest work by far is the personal: "What women wander?/ Not many. All. A few./ Most would, now & then,/ & no wonder./ Some, and I'm one,/ Wander sitting still." Ponsot's poetry is elegiac without shadowy regret. This is the thoughtful, and sometimes unsettling, work of one of the more powerful poets of this tempestuous generation, and the current collection is a chance to chart her fascinating evolution. Ponsot won the National Book Critics Circle Award for her previous collection, The Bird Catcher (1998). Her latest would be a strong addition to any contemporary poetry collection. Louis McKee, Painted Bride Arts Ctr., Philadelphia
Copyright 2002 Cahners Business Information, Inc.
From Booklist
Springing is exactly right: Ponsot's poetry does "dart and shoot" as the dictionary specifies, and it certainly does "issue with speed and force or as a stream." The full measure of her saucy and vigorous, neat and penetrating work is packaged here, including a set of vivifying uncollected poems from 1946 to 1971; selections from four previous collections, including the National Book Critics Circle Award winner, The Bird Catcher (1998); and a solid offering of new poems. Although cool and pinpoint, Ponsot's work flows from a deeply feminine sensibility, effusing her plant, water, and bird imagery with a healthy sensuality and tracking with stunning insight the revelations of each phase of girl- and womanhood. She prowls gardens, memories, the body's curves and bends, the Bible, and the works of classical poets, switching between seriousness and humor as she parses sex and love, intimates and strangers, mind and matter, the shimmering pageant of selves generated by one soul, and life's strange dynamic that has us forever "rising to fall, falling to rise." Donna Seaman
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
0 of 0 people found the following review helpful.
I discovered Marie Ponsot
By Steven R. Marcom
I was not aware of her until recently. She is my kind of poet. Of course, I like Wallace Stevens, as well. But they are not really alike. I love her depth of knowledge of history and the classics and how she weaves the old and new. I find that many of her works cause me to look a little deeper. In some women poets, I sense their femininity - a good thing. In Ponsot, I often just experience good poetry, a different delight.
2 of 2 people found the following review helpful.
Poet of the Catholic Worker after it was fashionable
By mianfei
Although one of the first writers published by Lawrence Ferlinghetti's City Lights, Marie Ponsot, originally a protege of Dorothy Day's Catholic Worker movement, was as noted by the New York Times exactly the opposite of Allen Ginsberg in character. She was a devout Catholic and a strongly devoted mother who preferred to raise her numerous children rather than devote her time to publishing poetry, not publishing again until the 1980s when anti-Catholic sentiment had become much stronger among underground culture.
Nonetheless, in her old age Ponsot has become much more prolific and with "Springing" it becomes possible to enjoy her simple beauty for the first time for people of my age and nationality. The images in Ponsot's poetry are always touchingly familiar, and even when her Catholic faith is apparent as in "Private and Profane" it does not override the tone of her sharp eye for using language with considerable skill to describe the lives of common people. Her poetry is fairly accessible but never childish or ugly, and its rhymes are subtle and take a long time and repeated reading to even notice, yet they add to the beauty when one does.
All in all, for those curious about the culture of the 1950s underground, Marie Ponsot is a fascinating footnote and this gives a selection of her pre-1980s poetry for the first time.
2 of 3 people found the following review helpful.
Springing by M Ponsot
By B. camel Collectibles
Springing is fantastic and imaginative! I teach English at the college level, so i was drawn to the book. Ponsot is a master
of her genre and richly deserved Kudos. Enjoy
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