Silverchest

Carl Phillips (Author)
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Product Details

Price
$15.00
Publisher
Farrar Straus Giroux
Publish Date
April 01, 2014
Pages
61
Dimensions
5.57 X 0.27 X 8.21 inches | 0.2 pounds
Language
English
Type
Paperback
EAN/UPC
9780374534332
BISAC Categories:

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About the Author

Carl Phillips is the author of eleven books of poetry, including Speak Low (FSG, 2009), which was a finalist for the National Book Award, and Double Shadow (FSG, 2011), winner of the Los Angeles Times Book Prize. He teaches at Washington University in St. Louis and lives in St. Louis, Missouri.

Reviews

"In Phillips's delicately beautiful but highly unstable universe, both self and world are the sort of things that seem to fail, more often than not, to behave as one might have expected." --Troy Jollimore, "Chicago Tribune"

Praise for Carl Phillips:

"The gorgeous, syntactically intricate poems of Carl Phillips strike me as always haunted to some extent by an autumnal, adumbrated sensibility, a subtlety of consciousness in intimate argument with its own tangential forays and asides into volition, rhetoric, and refusal. His is a 'knowing' poised on the glinting knife-edge verge of disclosure, of revelation." --Lisa Russ Spaar, "The Chronicle of Higher Education Arts and Academe"

"[In "Double Shadow"] the poems themselves are like double shadows, pliable things wrought from the masterful artist, a man many consider to be the reckoning force in contemporary American poetry . . . During a time when much of American poetry is criticized for being poetry lite, Phillips can move us in a single poem from complete joy to utter heartbreak . . . The poems . . . hold a mystical, chiseled weight." --D . Gilson, "The Rumpus"

"There is pain in isolation and pain in connectedness, in love. There is also pain in thinking, remembering, and wanting. This is the condition Phillips registers like a seismograph. But he has createda means to describe what remains otherwise indescribable . . . ["Double Shadow" is] a remarkably beautiful collection; many of the poems are as unforgettable as they are ineffable." --Stan Sanvel Rubin, "Water-Stone Review"

Praise for "Silverchest"


"I have a candidate for the author of the most interesting contemporary English sentences and it is not primarily a prose writer: the American poet Carl Phillips . . . Phillip's style has been remarkably consistent from volume to volume, upsetting our easy assumption that great artists evolve from phase to phase." --Dan Chiasson, "The New Yorker"

""Silverchest" displays the gifts of an exceptional talent with palpable staying power. The lyrics often manage to combine a disarming speaker, elegant syntax and startling titles that index powerful acts of mind." --Maggie Galehouse, "The Houston Chronicle"


Praise for Carl Phillips:

"The gorgeous, syntactically intricate poems of Carl Phillips strike me as always haunted to some extent by an autumnal, adumbrated sensibility, a subtlety of consciousness in intimate argument with its own tangential forays and asides into volition, rhetoric, and refusal. His is a 'knowing' poised on the glinting knife-edge verge of disclosure, of revelation." --Lisa Russ Spaar, "The Chronicle of Higher Education Arts and Academe"

"[In "Double Shadow"] the poems themselves are like double shadows, pliable things wrought from the masterful artist, a man many consider to be the reckoning force in contemporary American poetry . . . During a time when much of American poetry is criticized for being poetry lite, Phillips can move us in a single poem from complete joy to utter heartbreak . . . The poems . . . hold a mystical, chiseled weight." --D . Gilson, "The Rumpus"

"There is pain in isolation and pain in connectedness, in love. There is also pain in thinking, remembering, and wanting. This is the condition Phillips registers like a seismograph. But he has createda means to describe what remains otherwise indescribable . . . ["Double Shadow" is] a remarkably beautiful collection; many of the poems are as unforgettable as they are ineffable." --Stan Sanvel Rubin, "Water-Stone Review"

Praise for "Silverchest"
"I have a candidate for the author of the most interesting contemporary English sentences and it is not primarily a prose writer: the American poet Carl Phillips . . . Phillip's style has been remarkably consistent from volume to volume, upsetting our easy assumption that great artists evolve from phase to phase." --Dan Chiasson, "The New Yorker"

""Silverchest" displays the gifts of an exceptional talent with palpable staying power. The lyrics often manage to combine a disarming speaker, elegant syntax and startling titles that index powerful acts of mind." --Maggie Galehouse, "The Houston Chronicle
""In these gorgeous, meticulously constructed lyric poems, nature and music--motifs Phillips returns to often--take on the role of correlatives, evoking the mind's own cadence, its certainty and thaw." --"Publishers Weekly"


Praise for Carl Phillips:

"The gorgeous, syntactically intricate poems of Carl Phillips strike me as always haunted to some extent by an autumnal, adumbrated sensibility, a subtlety of consciousness in intimate argument with its own tangential forays and asides into volition, rhetoric, and refusal. His is a 'knowing' poised on the glinting knife-edge verge of disclosure, of revelation." --Lisa Russ Spaar, "The Chronicle of Higher Education Arts and Academe"

"[In "Double Shadow"] the poems themselves are like double shadows, pliable things wrought from the masterful artist, a man many consider to be the reckoning force in contemporary American poetry . . . During a time when much of American poetry is criticized for being poetry lite, Phillips can move us in a single poem from complete joy to utter heartbreak . . . The poems . . . hold a mystical, chiseled weight." --D . Gilson, "The Rumpus"

"There is pain in isolation and pain in connectedness, in love. There is also pain in thinking, remembering, and wanting. This is the condition Phillips registers like a seismograph. But he has createda mean

Praise for "Silverchest"

"I have a candidate for the author of the most interesting contemporary English sentences and it is not primarily a prose writer: the American poet Carl Phillips . . . Phillip's style has been remarkably consistent from volume to volume, upsetting our easy assumption that great artists evolve from phase to phase." --Dan Chiasson, "The New Yorker
""Phillips is a great poet of morality and desire and the complicated relationship between the two." --Jared Bland, "The Globe and Mail"

""Silverchest" displays the gifts of an exceptional talent with palpable staying power. The lyrics often manage to combine a disarming speaker, elegant syntax and startling titles that index powerful acts of mind." --Joseph Campana, "The Houston Chronicle
""In these gorgeous, meticulously constructed lyric poems, nature and music--motifs Phillips returns to often--take on the role of correlatives, evoking the mind's own cadence, its certainty and thaw." --"Publishers Weekly"


Praise for Carl Phillips

"The gorgeous, syntactically intricate poems of Carl Phillips strike me as always haunted to some extent by an autumnal, adumbrated sensibility, a subtlety of consciousness in intimate argument with its own tangential forays and asides into volition, rhetoric, and refusal. His is a 'knowing' poised on the glinting knife-edge verge of disclosure, of revelation." --Lisa Russ Spaar, "The Chronicle of Higher Education Arts and Academe"

"[In "Double Shadow"] the poems themselves are like double shadows, pliable things wrought from the masterful artist, a man many consider to be the reckoning force in contemporary American poetry . . . During a time when much of American poetry is criticized for being poetry lite, Phillips can move us in a single poem from complete joy to utter heartbreak . . . The poems . . . hold a mystical, chiseled weight." --D . Gilson, "The Rumpus"

"There is pain in isolation and pain in connectedness, in love. There is a

Praise for "Silverchest"

"I have a candidate for the author of the most interesting contemporary English sentences and it is not primarily a prose writer: the American poet Carl Phillips . . . Phillip's style has been remarkably consistent from volume to volume, upsetting our easy assumption that great artists evolve from phase to phase." --Dan Chiasson, "The New Yorker
""Bruised past ripeness, all the action offstage, overwhelmed with beauty and always threatening to dissolve, Carl Phillips' "Silverchest" is an unlikely candidate for my favorite book of the year. Yet I doubt any new poetry collection has given me as much pleasure as this unusually--generously--slender, wintering tome. Part of that comes down to abundance: Phillips just writes so damned well, a rich ear interlocking his phenomenal powers of perception and imagination . . . The providence, here, when there is provision, is not so much in the world that Phillips describes as it is in the challenged art of description itself. Phillips' humility brings him to beauty. And his inability to account for his place among the living has allowed him to make the interplay between illusion and awareness into the one book this year that most richly and persuasively, at least for me, reinstates the possibility of finding meaning in a world that is forever ready to revoke the sources of meaning in our lives." --Jonathan Farmer, "Slate"


"Phillips is a great poet of morality and desire and the complicated relationship between the two." --Jared Bland, "The Globe and Mail
""Silverchest is Carl Phillips's twelfth book of poems, and while it is a book only Carl Phillips could have written (which I mean as praise and not as a claim of redundancy), it breaks away into a new territory and, at times, new voice, as it deals directly with landscapes informed by the natural world as much as by the sexual imagination . . . And while Phillips is arguably at his most personal, and therefore revelatory, with "Silverchest," he is also at his most spare, while still keeping close to the strong lyric dialectic line that informs all of his other books. It's a book that feels in tone and suppleness haunted not only by the past, but by what the present is trying to tell the future and beyond the future . . . Most of the poems are raw and short and thrilling the way shortness of breath is thrilling." --Michael Klein, "Coldfront"

""Silverchest" displays the gifts of an exceptional talent with palpable staying power. The lyrics often manage to combine a disarming speaker, elegant syntax and startling titles that index powerful acts of mind." --Joseph Campana, "The Houston Chronicle
""In these gorgeous, meticulously constructed lyric poems, nature and music--motifs Phillips returns to often--take on the role of correlatives, evoking the mind's own cadence, its certainty and thaw." --"Publishers Weekly"


Praise for Carl Phillips:

"The gorgeous, syntactically intricate poems of Carl Phillips strike me as always haunted to some extent by an autumnal, adumbrated sensibility, a subtlety of consciousness in intimate argument with its own tangential forays and asides into volition, rhetoric, and refusal. His is a 'knowing' poised on the glinting knife-edge verge of disclosure, of revelation." --Lisa Russ Spaar, "The Chronicle of Higher Education Arts and Academe"

"[In "Double Shadow"] the poems themselves are like double shadows, pliable things wrought from the masterful artist, a man many consider to be the reckoning force in contemporary American poetry . . . During a time when much of American poetry is criticized for being poetry lite, Phillips can move us in a single poem from complete joy to utter heartbreak . . . The poems . . . hold a mystical, chiseled weight." --D . Gilson, "The Rumpus"

"There is pain in isolation and pain in connectedness, in love. There is also pain in thinking, remembering, and wanting. This is the condition Phillips registers like a seismograph. But he has createda means to describe what remains otherwise indescribable . . . ["Double Shadow" is] a remarkably beautiful collection; many of the poems are as unforgettable as they are ineffable." --Stan Sanvel Rubin, "Water-Stone Review"""

I have a candidate for the author of the most interesting contemporary English sentences and it is not primarily a prose writer: the American poet Carl Phillips . . . Phillip's style has been remarkably consistent from volume to volume, upsetting our easy assumption that great artists evolve from phase to phase. "Dan Chiasson, The New Yorker"

Bruised past ripeness, all the action offstage, overwhelmed with beauty and always threatening to dissolve, Carl Phillips' "Silverchest" is an unlikely candidate for my favorite book of the year. Yet I doubt any new poetry collection has given me as much pleasure as this unusually--generously--slender, wintering tome. Part of that comes down to abundance: Phillips just writes so damned well, a rich ear interlocking his phenomenal powers of perception and imagination . . . The providence, here, when there is provision, is not so much in the world that Phillips describes as it is in the challenged art of description itself. Phillips' humility brings him to beauty. And his inability to account for his place among the living has allowed him to make the interplay between illusion and awareness into the one book this year that most richly and persuasively, at least for me, reinstates the possibility of finding meaning in a world that is forever ready to revoke the sources of meaning in our lives. "Jonathan Farmer, Slate"

Phillips is a great poet of morality and desire and the complicated relationship between the two. "Jared Bland, The Globe and Mail"

Silverchest is Carl Phillips's twelfth book of poems, and while it is a book only Carl Phillips could have written (which I mean as praise and not as a claim of redundancy), it breaks away into a new territory and, at times, new voice, as it deals directly with landscapes informed by the natural world as much as by the sexual imagination . . . And while Phillips is arguably at his most personal, and therefore revelatory, with "Silverchest," he is also at his most spare, while still keeping close to the strong lyric dialectic line that informs all of his other books. It's a book that feels in tone and suppleness haunted not only by the past, but by what the present is trying to tell the future and beyond the future . . . Most of the poems are raw and short and thrilling the way shortness of breath is thrilling. "Michael Klein, Coldfront"

"Silverchest" displays the gifts of an exceptional talent with palpable staying power. The lyrics often manage to combine a disarming speaker, elegant syntax and startling titles that index powerful acts of mind. "Joseph Campana, The Houston Chronicle"

In these gorgeous, meticulously constructed lyric poems, nature and music--motifs Phillips returns to often--take on the role of correlatives, evoking the mind's own cadence, its certainty and thaw. "Publishers Weekly""

"I have a candidate for the author of the most interesting contemporary English sentences and it is not primarily a prose writer: the American poet Carl Phillips . . . Phillip's style has been remarkably consistent from volume to volume, upsetting our easy assumption that great artists evolve from phase to phase." --Dan Chiasson, The New Yorker

"Bruised past ripeness, all the action offstage, overwhelmed with beauty and always threatening to dissolve, Carl Phillips' Silverchest is an unlikely candidate for my favorite book of the year. Yet I doubt any new poetry collection has given me as much pleasure as this unusually--generously--slender, wintering tome. Part of that comes down to abundance: Phillips just writes so damned well, a rich ear interlocking his phenomenal powers of perception and imagination . . . The providence, here, when there is provision, is not so much in the world that Phillips describes as it is in the challenged art of description itself. Phillips' humility brings him to beauty. And his inability to account for his place among the living has allowed him to make the interplay between illusion and awareness into the one book this year that most richly and persuasively, at least for me, reinstates the possibility of finding meaning in a world that is forever ready to revoke the sources of meaning in our lives." --Jonathan Farmer, Slate

"Phillips is a great poet of morality and desire and the complicated relationship between the two." --Jared Bland, The Globe and Mail

"Silverchest is Carl Phillips's twelfth book of poems, and while it is a book only Carl Phillips could have written (which I mean as praise and not as a claim of redundancy), it breaks away into a new territory and, at times, new voice, as it deals directly with landscapes informed by the natural world as much as by the sexual imagination . . . And while Phillips is arguably at his most personal, and therefore revelatory, with Silverchest, he is also at his most spare, while still keeping close to the strong lyric dialectic line that informs all of his other books. It's a book that feels in tone and suppleness haunted not only by the past, but by what the present is trying to tell the future and beyond the future . . . Most of the poems are raw and short and thrilling the way shortness of breath is thrilling." --Michael Klein, Coldfront

"Silverchest displays the gifts of an exceptional talent with palpable staying power. The lyrics often manage to combine a disarming speaker, elegant syntax and startling titles that index powerful acts of mind." --Joseph Campana, The Houston Chronicle

"In these gorgeous, meticulously constructed lyric poems, nature and music--motifs Phillips returns to often--take on the role of correlatives, evoking the mind's own cadence, its certainty and thaw. " --Publishers Weekly