Caribou: Poems
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A powerfully moving meditation on life and the beyond, from one of our finest American poets
Charles Wright's truth—the truth of nature, of man's yearning for the divine, of aging—is at the heart of the renowned poet's latest collection, Caribou. This is an elegy to transient beauty, a song for the "stepchild hour, / belonging to neither the light nor dark, / The hour of disappearing things," and an expression of Wright's restless questing for a reality beyond the one before our eyes ("We are all going into a world of dark . . . It's okay. That's where the secrets are, / The big ones, the ones too tall to tell"). Caribou's strength is in its quiet, wry profundity.
"It's good to be here," Wright tells us. "It's good to be where the world's quiescent, and reminiscent." And to be here—in the pages of this stirring collection—is more than good; Caribou is another remarkable gift from the poet around whose influence "the whole world seems to orbit in a kind of meditative, slow circle" (Poetry).
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Charles Wright. (2014). Caribou: Poems. Farrar, Straus and Giroux.
Chicago / Turabian - Author Date Citation (style guide)Charles Wright. 2014. Caribou: Poems. Farrar, Straus and Giroux.
Chicago / Turabian - Humanities Citation (style guide)Charles Wright, Caribou: Poems. Farrar, Straus and Giroux, 2014.
MLA Citation (style guide)Charles Wright. Caribou: Poems. Farrar, Straus and Giroux, 2014.
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- bioText: Charles Wright is the United States Poet Laureate. His poetry collections include Country Music, Black Zodiac, Chickamauga, Bye-and-Bye: Selected Later Poems, Sestets, and Caribou. He is a winner of the Pulitzer Prize, the National Book Critics Circle Award, the National Book Award, the Griffin Poetry Prize, and the 2013 Bollingen Prize for American Poetry. Born in Pickwick Dam, Tennessee in 1935, he currently lives in Charlottesville, Virginia.
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A powerfully moving meditation on life and the beyond, from one of our finest American poets
Charles Wright's truth—the truth of nature, of man's yearning for the divine, of aging—is at the heart of the renowned poet's latest collection, Caribou. This is an elegy to transient beauty, a song for the "stepchild hour, / belonging to neither the light nor dark, / The hour of disappearing things," and an expression of Wright's restless questing for a reality beyond the one before our eyes ("We are all going into a world of dark . . . It's okay. That's where the secrets are, / The big ones, the ones too tall to tell"). Caribou's strength is in its quiet, wry profundity.
"It's good to be here," Wright tells us. "It's good to be where the world's quiescent, and reminiscent." And to be here—in the pages of this stirring collection—is more than good; Caribou is another remarkable gift from the poet around whose influence "the...- isOwnedByCollections
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- title
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A powerfully moving meditation on life and the beyond, from one of our finest American poets
Charles Wright's truth—the truth of nature, of man's yearning for the divine, of aging—is at the heart of the renowned poet's latest collection, Caribou. This is an elegy to transient beauty, a song for the "stepchild hour, / belonging to neither the light nor dark, / The hour of disappearing things," and an expression of Wright's restless questing for a reality beyond the one before our eyes ("We are all going into a world of dark . . . It's okay. That's where the secrets are, / The big ones, the ones too tall to tell"). Caribou's strength is in its quiet, wry profundity.
"It's good to be here," Wright tells us. "It's good to be where the world's quiescent, and reminiscent." And to be here—in the pages of this stirring collection—is more than good; Caribou is another remarkable gift from the poet around whose influence "the whole world seems to orbit in a kind of meditative, slow circle" (Poetry).- sortTitle
- Caribou Poems
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- reviews
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- source: Thomas Curwen, Los Angeles Times
- content:
"Inside [Wright's] lyric, there resides a world well beyond the ordinary . . . It is the heart and soul that he delivers so eloquently."
- premium: False
- source: Arlice Davenport, The Witchta Eagle
- content: "Haunted by what he has and has not said, Charles Wright pens a poetry of urgent expectation. His verse moves effortlessly from image to emotion to gnomic maxims about life and death. In them, he traces the lineaments of transcendence with delicacy and desire, humility and regret. Wright's is an elegiac yearning born of the 'stepchild hour, / belonging to neither the light nor dark, / The hour of disappearing things.' Winner of the National Book Award, the National Book Critics Circle Award, the Pulitzer Prize and many other honors, Wright has carefully crafted Caribou, his 21st collection, around the tension of unbelief--reaching for an eternity that may not be there, ever watchful, always trusting, never sure . . . No one else writes quite like Wright, with his intensity of purpose, his attunement to the spheres, his keen eye on creation. With each new book, he breeds our expectation to find an ecstatic opening to the other world. Even as we make our home in this one."
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Starred review from March 31, 2014
“Musician says, beauty is the enemy of expression./ I say expression is the enemy of beauty./ God says, who gives a damn anyway”—that’s how Wright tells a joke. Indeed, his latest collection (after 2013’s Bollingen Prize–winning Bye-and-Bye) is a dexterous balance of lightness in dark. Split in three parts, all named for things cast off or left over—”Echoes,” “End Papers,” “Apocrypha”—the book is rife with nihilism, humor, and beauty: “This is as old man’s poetry,/ written by someone who’s spent his life/ Looking for one truth./ Sorry, pal, there isn’t one./ Unless, of course, the trees and their blow-down relatives/ Are part of it./ Unless the late-evening armada of clouds/ Spanished along the horizon are part of it.” To Wright, careful observation of the world and the self is the closest we can come to God: “I tried to make a small hole in my life, something to slip through/ To the other side.” As for dealing with that metaphysical lack, even if “e live beyond the metaphysician’s fingertips,” and “here is no metaphor, there is no simile,/ and there is no rhetoric/ to nudge us to their caress... The trees remain the trees, God help us.” Wright once again delivers the kind of poetry we cannot imagine poetry without.
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Starred review from March 1, 2014
Like those in Wright's 2009's Sestets, the lyrical meditations in this latest collection consider the impermanence of human existence within the relative permanence of the natural world. On the threshold of 80 ("This is an old man's poetry"), the poet faces mortality with a candid, if often deflating, awareness that eventually we find ourselves "surrounded by everything we have failed to do," our memories "merely the things we forgot to forget." A generic setting of creeks, clouds, trees, moons, and stars, Wright's strangely depopulated world takes on a haunting yet familiar presence, inspiring both Zen wisdom ("empty yourself of yourself") and dark wit (."..you've said your piece. Now rest in it."). VERDICT Winner of the Pulitzer Prize, National Book Critics Circle Award, National Book Award, among other honors, Wright offers up a spare, no-nonsense approach that serves his subjects well, enabling a kind of spiritual poetry for those who resist spirituality. Pointed as ever, his work continues to engage and explore life's unsolvable mysteries. [See "Ten Essential Poetry Titles for Winter 2014," Prepub Alert, 9/30/13.]--Fred Muratori, Cornell Univ. Lib., Ithaca, NY
Copyright 2014 Library Journal, LLC Used with permission.
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March 15, 2014
Wright has published more than 20 volumes of poetry, nonfiction, and translations, and his awards include a Pulitzer, a National Book Critics Circle Award, a National Book Award, and the Bollingen and Griffin prizes. The lyrics in his latest collection are short, fluent. The images are elegant, and the manner of address is mellow as he uses dude, man, and boy as intensifiers. The only sequence is titled Chinoiserie, though to call it a sequence suggests too strong a relationship between poems linked only by sensibility. This is not a flaw. The book has no flaws, which is to say it fulfills the criteria it sets for itself. The poems instruct us in how to read them. Wright acknowledges his debt to Chinese poetry, and in the images of mountains, sunrise and sunset, the coursing of rivers, the sounds and startling appearance of birds, lengthening shadows, the Cloud deck assembling its puzzle pieces together / One by one, change is all, change that ends in changelessness.(Reprinted with permission of Booklist, copyright 2014, American Library Association.)
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