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The Rest of Love: Poems, by Carl Phillips
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Striking new poems from a writer whose "lyric gift . . . outstrips all diversionary maneuvers." (Carol Moldaw, The Antioch Review)
The light, for as far as
I can see, is that of any number of late
afternoons I remember still: how the light
seemed a bell; how it seemed I'd been living
insider it, waiting - I'd heard all about
that one clear note it gives.
--from "Late Apollo III"
In The Rest of Love, his seventh book, Carl Phillips examines the conflict between belief and disbelief, and our will to believe: Aren't we always trying, Phillips asks, to contain or to stave off facing up to, even briefly, the hard truths we're nevertheless attracted to? Phillips's signature terse line and syntax enact this constant tension between abandon and control; following his impeccable interior logic, "passionately austere" (Rita Dove, The Washington Post Book World), Phillips plumbs the myths we make and return to in the name of desire-physical, emotional, and spiritual.
The Rest of Love is a 2004 National Book Award Finalist for Poetry.
- Sales Rank: #1361044 in Books
- Published on: 2005-01-12
- Released on: 2004-12-23
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .20" w x 5.50" l, .23 pounds
- Binding: Paperback
- 80 pages
From Publishers Weekly
Furthering an idiom worked up over six previous books and showing no signs of exhaustion, Phillips delivers another brittle, electric set of poems on love, sex, masculinity and their classical contours. In 33 lyrics divided over three sections, Phillips's unmistakable, short-lined apostrophes, riddled with exhalative em-dashes and pulled-up-short interrogatives, perform the kind of personal control that, before The Tether, would have been a main component of domination, but has slowly modulated into conscious attempts at sharing one's physical and psychic lives fully-or as fully as possible: "to what extent can this be said, and/ it be true? and/ it be false?/ Under what conditions?// Under whose conditions?" Phillips finds a series of images, from "White Dog" ("First snow-I release her into it") to a donkey in Santiago ("He shot the ass/ in the head. Simple.") to "the boy at the bow" of a sculling crew ("the rest of the boys/ sang back"), and works each singly and satisfyingly. And as with Phillips's other recent work, while the poems do not form a series, they seem to provide multiple and overlapping accounts of the title's excess (or its repose) without trying to define it. The result will not only please fans, but will send new readers back to recent books, which may be accumulating more quickly than they can be absorbed.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Phillips is an intensely philosophical poet whose restrained lexicon is steeped in classical allusions and Elizabethan tropes. In his seventh rarefied and metaphysical collection, one that features his signature stark landscapes and brooding eroticism, this recent recipient of an American Academy of Arts and Letters Award in Literature ponders the tension between love, belief, and reason. Phillips' narrator dreams of God; cherishes light, resistance, stillness, and "things invisible"; perceives solitude as a force of nature; and recognizes the unsettling fact that everything contains its opposite. Phillips' restrained and abstract lyrics are elegant, enigmatic, and electric, provocative meditations on and enactments of what is "a human need, / to give to shapelessness / a form." Donna Seaman
Copyright © American Library Association. All rights reserved
Review
“[Phillips achieves] a delicately cadenced music entirely his own.” ―Roger Gilbert, Michigan Quarterly Review
Most helpful customer reviews
0 of 0 people found the following review helpful.
Love it
By Kevin N
This is one of my favorite poetry books. Though I believe that Carl Phillips began to navel-gaze a bit too much in subsequent volumes, this was the high point of his career and work.
6 of 11 people found the following review helpful.
Enjoyable even where Phillips has done better earlier
By Kevin Killian
THE REST OF LOVE is a the work of a man possessed, a man who literally cannot stop writing. Now the famous Pulitzer Prize author describes and outlines a whole new set of tests and questions, kind of like a proctor of poetry, sitting up at the front of the class with an all-watchful eye. For nothing escape the notice of Carl Phillips. Here he is on the pilgrimage of St James of Spain, "where we/ stopped to bathe, and/ / for the first time/ saw him naked--/ one tattoo: a deer, gutted,/ pinned in what he called/ your standard/ Christ-on-the-cross position,/ / by which, it seems now, he meant in/ no way a thing/ unholy." By the time I get to the end of that I'm all sixes and sevens and wondering if "meant" is a transitive verb or not. "By which he meant in no way a thing unholy." I take it that the man's naked body reveals something of the godlike about it, even with its ugly tattoo of a gutted deer. Perhaps these tattoos are bigger in the high Castilian Spain of Compostela than they are in PETA-friendly California where I read the poem? Or does the poem indicate that the nude man has not been blasphemous about Christ on the cross? It's a fabulous riddle, and it's thrust into the middle of a poem in which the donkey is shot and a spray of indigo and sweetleaf is thrust into the bullet hole--again, as if to say, my life is a bit more brutal than yours and I am far from an academic poet but almost a big game hunter of barnyard animals. So it's confusing.
Nevertheless you come away from the book wondering if perhaps we are getting pummeled, as though with BB shot, by these powerful poems too often nowadays and maybe Mr. Phillips should take a break and not release so many books, though I understand the impulse to strike while the iron is hot for tomorrow, you may be outdated like John Masefield or someone, and ditto the impulse to take down what the Vates dictate to you. For if you are not receptive to the words of the poem, they will go somewhere else entirely.
8 of 32 people found the following review helpful.
Phillips' worst effort
By A Customer
Too much heavy breathing in these weighted down poems. Tiresome and redundant. Overly dramatic and humorless. A major disappointment from a once promising poet.
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