Myronn Hardy (Author)
DescriptionKingdom is a book of poems influenced by six years of living in Morocco, where the book is primarily set. It interrogates notions of subtle, day-to-day changes as well as those promulgated by sweeping social and political movements. It is a book influenced by the natural world and our everyday connections to it and each other. t is a book about witness and longing and alienation as well as the complications with both beginnings and endings. It is a book where ideas live and pass away with both clarity and incomprehensibility.
New Issues Poetry and Prose
September 22, 2015
5.9 X 0.4 X 9.6 inches | 0.65 pounds
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About the Author
MYRONN HARDY is the author of three previous books of poems: Approaching the Center, winner of the PEN/Oakland Josephine Miles Award, The Headless Saints, winner of the Hurston/Wright Legacy Award, and Catastrophic Bliss, winner of the Griot-Stadler Prize for Poetry. He has received fellowships from the Anneberg Foundation, Djerassi, the Bread Loaf Writers' Conference, the Sacatar Foundation, and Fundación Valparaiso. He divides his time between Morocco and New York City.
"Hardy uses a mix of silence and incantatory language to evoke subjugation and revolt in his fourth collection. These are poems steeped in language both modern and ancient, evincing the cyclical nature of religion, violence, and redemption. The use of white space recalls both erasure and redaction, while the virtual elimination of articles and a chant-like repetition offer readers the chance to cover their eyes at the scary parts, only to realize the scariest is still to come. In the long, sectioned poem Collapse, he writes, 'We are supposed to look away but we don't.' This is both an accusation and a call to arms. He trusts that readers will not look away from the towers he invokes many times, nor from the reappearing sycamores, and certainly not from 'The secrets a country keeps.// The secrets we keep from ourselves.' What happens in private, Hardy intimates, is what we allow in public. There is not joy at work here but rather attention, mindfulness, and a 'Respect sought quietly.' Occasionally the linguistic acrobatics distract, with some of the images--such as 'sequins on the saffron wall'--feeling crowded, but Hardy primarily offers gorgeous lament without melodrama. We are responsible for the state of things, Hardy seems to say, but we are also the solution."-- "Publishers Weekly"