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## Free Ebook The Tether: Poems, by Carl Phillips

Free Ebook The Tether: Poems, by Carl Phillips

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The Tether: Poems, by Carl Phillips

The Tether: Poems, by Carl Phillips



The Tether: Poems, by Carl Phillips

Free Ebook The Tether: Poems, by Carl Phillips

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The Tether: Poems, by Carl Phillips

Graceful and resonant new work by a lyric poet at the height of his skill.

As I understand it, I could
call him. Though it would help,
it is not required that I give him
a name first. Also, nothing
says he stops, then, or must turn.
--from "The Figure, the Boundary, the Light"

In the art of falconry, during training the tether between the gloved fist and the raptor's anklets is gradually lengthened and eventually unnecessary. In these new lyric poems, Carl Phillips considers the substance of connection -- between lover and beloved, mind and body, talon and perch -- and ts the cable of mutual trust between soaring figure and shadowed ground.

Contemporary literature can perhaps claim no poetry more clearly allegorical than that of Carl Phillips, whose four collections have turned frequently to nature, myth, and history for illustration; still, readers know the primary attributes of his work to be its physicality, grace, and disarming honesty about desire and faith. In The Tether, his fifth book, Phillips's characteristically cascading poetic line is leaner and more dramatic than ever."

  • Sales Rank: #633223 in Books
  • Published on: 2002-04-03
  • Released on: 2002-04-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .23" w x 5.50" l, .28 pounds
  • Binding: Paperback
  • 96 pages

From Publishers Weekly
With his signature clausal intricacies and forbiddingly terse tercets intact, Phillips makes the jump after four books with Graywolf to FSG. Yet where books like Cort?ge (1995) and From the Devotions (1998) were fraught attempts finding a language to control highly charged, even mortally erotic circumstance, last year's Pastoral, while still saturated with difficult longing, hinted at the possibility of d?tente. The grudging pleasures and negotiations of leashed life are the main subjects of this fifth collection, which looks back to previous work and, for the first time, forward to the beloved's continued presence: "There was, one time, a stag / And now there isn't,// is there?/ And no, he won't come,/ ever, back. This is the widening, but// not unbeautiful wake of his having/ left us." While the hunt, a recurrent Phillips motif, continues here, and "carnage's/ bright details" (i.e., cheating) are suitably hung up, they are more instinctual relapse than planned pursuit, and are dealt with accordingly. The book's last poem, "Revision," shifts from intentionally unstable tercets to firmly decisive couplets, mirroring the speaker's aware-of-the-stakes commitment: "I recognize you / and the recognizing has the effect of/ slowing down that// part of me that would/ walk past, or as if away toward// another ending You/ speak first. And I'll answer." (Apr.) Forecast: Along with Henri Cole, Phillips some of the most formally accomplished first-person poems of male desire and relationships of his generation worthy of immediate generational predecessors Gunn and Bidart. This book should bring Phillips deserved mid-career accolades, and pave the way for a new and selected volume.
Copyright 2001 Reed Business Information, Inc.

From Library Journal
This latest from Phillips (Pastoral) is aptly named, for the poems all explore connection: the connection of lover and loved, of body and soul, of observer and observed, even of moments in time ("How did I get here,/ we ask one day"). We feel the connection implicitly in the tightly constructed lines, which pulse with restrained energy, with what is left unsaid (these pieces are finely honed). Starker and a bit darker than Phillips's previous work, these poems are intellectually challenging, requiring (and certainly meriting) many readings. Occasionally, the intensive punctuation irritates, causing odd halts that leave one begging to breathe. But these elliptical, ruminative works are worth the effort. Barbara Hoffert, "Library Journal"
Copyright 2001 Reed Business Information, Inc.

From The New Yorker
In his earlier votive and erotic poems, Phillips challenged his God with batter-my-heart provocations worthy of John Donne. In this collection, the poet's fifth, the divinity seems finally to have taken him at his word. The cockiness that once permeated the work ("Haven't I hymned your praise enough?" or "Hard Master / I called out / Undo me") has been subdued to a still, mature reverence. Phillips uses lyric turns to literally turn away, as if the knowledge he's come into were sometimes too much to bear, and a number of these poems conclude with small devastations. Of a hero looking down at his hands after battle in a kind of disbelief, he writes, "Translations are various: God, / If not for, If only— / Look what I've done." There is joy, though, too, and rapture—a notion developed in the extended falconry metaphor that gives the collection its title and its many medieval stags, orchards, kingdoms, and hunts. At the last, Phillips is a classicist and a translator, offering "less the truth, than a way to frame it."
Copyright © 2005 The New Yorker

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