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Eventually One Dreams the Real Thing
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Copper Canyon Press 2016
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A starred review in Library Journal says this about Eventually One Dreams the Real Thing: “Only a poet as accomplished as Boruch could make such beautiful verse while leading us through the everyday, of life's subtle, steady shiftings ('the bird's hunger, seeking shape'). If the opening image of a pool filled with cruelly dredged up roses bespeaks quiet assent ('I stood before them the way an animal/ accepts sun'), the next poem turns immediately to progress (and hence progression) as a modern invention beyond the heaven-and-hell alternatives; finally, the poet concedes, 'I lose track of my transitions.' In fact, transition defines us. Here, a static painting gives way to 'between and among,' a simple typeface never yields a perfect copy, and even in a medieval score, two exquisite quavers are connected by a slur. Highly recommended."

"Marianne Boruch's work has the wonderful, commanding power of true attention: She sees and considers with intensity."—The Washington Post

"Boruch refuses to see more than there is in things—but her patience, her willingness to wait for the film of familiarity to slip, allows her to see what is there with a jeweler's sense of facet and flaw."—Poetry

In her tenth volume of poetry, Marianne Boruch displays a historical omnipresence, as she converses with Dickinson, envisions Turner painting, and empathizes with Arthur Conan Doyle. She looks unabashedly at the brutality of recent history, from drone warfare to the disaster in New Orleans from Hurricane Katrina. Poems that turn her gaze towards childhood, nature, animals, and her own poetics are patches of light in the collection's chiaroscuro.

From "Before and Every After":

Eventually one dreams the real thing.

The cave as it was, what we paid to straddlea skinny box-turned-seat down the middle, narrow boatmade special for the state park, the wet, the tricky

passing into rock and underground river.

A single row of strangers faced front, each of usbehind another closeas dominoes to fall or we were angels lined uppolitely, pre-flight...

Marianne Boruch is the author of ten collections of poetry. She is the 2013 recipient of the Kingsley Tufts Poetry Award, and has taught at Purdue University since the inception of their MFA program. She lives in West Lafayette, Indiana.

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Format:
Adobe EPUB eBook, Kindle Book, OverDrive Read
Street Date:
10/17/2016
Language:
English
ISBN:
9781619321649
ASIN:
B01MA1FKD1
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APA Citation (style guide)

Marianne Boruch. (2016). Eventually One Dreams the Real Thing. Copper Canyon Press.

Chicago / Turabian - Author Date Citation (style guide)

Marianne Boruch. 2016. Eventually One Dreams the Real Thing. Copper Canyon Press.

Chicago / Turabian - Humanities Citation (style guide)

Marianne Boruch, Eventually One Dreams the Real Thing. Copper Canyon Press, 2016.

MLA Citation (style guide)

Marianne Boruch. Eventually One Dreams the Real Thing. Copper Canyon Press, 2016. Web.

Note! Citation formats are based on standards as of July 2010. Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy.
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        Marianne Boruch: Poet and essayist Marianne Boruch grew up in Chicago and received a BS from the University of Illinois and an MFA from the University of Massachusetts. She is the author of several collections of poetry, including Poems New & Selected (2004), which was a finalist for the Lenore Marshall Poetry Prize. Her honors include fellowships from the Guggenheim Foundation and the National Endowment for the Arts, two Pushcart Prizes, and the Terrence Des Pres Prize for Poetry. Boruch has taught at Purdue University since the inception of their MFA program, and she also teaches in the low-residency MFA program at Warren Wilson College.

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shortDescription

A starred review in Library Journal says this about Eventually One Dreams the Real Thing: “Only a poet as accomplished as Boruch could make such beautiful verse while leading us through the everyday, of life's subtle, steady shiftings ('the bird's hunger, seeking shape'). If the opening image of a pool filled with cruelly dredged up roses bespeaks quiet assent ('I stood before them the way an animal/ accepts sun'), the next poem turns immediately to progress (and hence progression) as a modern invention beyond the heaven-and-hell alternatives; finally, the poet concedes, 'I lose track of my transitions.' In fact, transition defines us. Here, a static painting gives way to 'between and among,' a simple typeface never yields a perfect copy, and even in a medieval score, two exquisite quavers are connected by a slur. Highly recommended."

"Marianne Boruch's work has the wonderful, commanding power of true attention: She sees and considers with...

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title
Eventually One Dreams the Real Thing
fullDescription

A starred review in Library Journal says this about Eventually One Dreams the Real Thing: “Only a poet as accomplished as Boruch could make such beautiful verse while leading us through the everyday, of life's subtle, steady shiftings ('the bird's hunger, seeking shape'). If the opening image of a pool filled with cruelly dredged up roses bespeaks quiet assent ('I stood before them the way an animal/ accepts sun'), the next poem turns immediately to progress (and hence progression) as a modern invention beyond the heaven-and-hell alternatives; finally, the poet concedes, 'I lose track of my transitions.' In fact, transition defines us. Here, a static painting gives way to 'between and among,' a simple typeface never yields a perfect copy, and even in a medieval score, two exquisite quavers are connected by a slur. Highly recommended."

"Marianne Boruch's work has the wonderful, commanding power of true attention: She sees and considers with intensity."—The Washington Post

"Boruch refuses to see more than there is in things—but her patience, her willingness to wait for the film of familiarity to slip, allows her to see what is there with a jeweler's sense of facet and flaw."—Poetry

In her tenth volume of poetry, Marianne Boruch displays a historical omnipresence, as she converses with Dickinson, envisions Turner painting, and empathizes with Arthur Conan Doyle. She looks unabashedly at the brutality of recent history, from drone warfare to the disaster in New Orleans from Hurricane Katrina. Poems that turn her gaze towards childhood, nature, animals, and her own poetics are patches of light in the collection's chiaroscuro.

From "Before and Every After":

Eventually one dreams the real thing.

The cave as it was, what we paid to straddle
a skinny box-turned-seat down the middle, narrow boat
made special for the state park, the wet, the tricky

passing into rock and underground river.

A single row of strangers faced front, each of us
behind another close
as dominoes to fall or we were angels lined up
politely, pre-flight...

Marianne Boruch is the author of ten collections of poetry. She is the 2013 recipient of the Kingsley Tufts Poetry Award, and has taught at Purdue University since the inception of their MFA program. She lives in West Lafayette, Indiana.

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      • premium: True
      • source: Publisher's Weekly
      • content:

        June 20, 2016
        In her meditative new collection, Boruch (Cadaver, Speak) writes at once with and against the cascade of information and fevered, restless attention that mark contemporary daily life. These poems move with an ease and dexterity among current events, etymology, the environment, architecture, memories, and family histories. Boruch’s patient, quiet consideration of each of her many interests anchors the collection, and the persistence of the thinking, observing mind is the counterpoint and antidote to “all that cheering and static across mountains and cities/ and wires and rivers unto ocean and airspace and star-studded orbits.” The excess by which she’s “pelted every day/ by factoids. Word unto word unto word” does not dull the act of creation: “Wow. To make anything at all, be it/ moonlight or a shrug.” With the flaneur’s relaxed wisdom, Boruch places the exceptional within the mundane and the intimate within the universal, and above all highlights the present moment without ever losing sight of a broader context in which now is just one moment among many: “Because it’s ancient: there is/ no progress, only a deepening. Or not even that.” Readers are invited to think carefully through the world they’ve inherited, with Boruch’s discerning eye and conversational voice as a guide.

      • premium: True
      • source: Library Journal
      • content:

        Starred review from June 15, 2016

        Only a poet as accomplished as Boruch (Cadaver, Speak) could make such beautiful verse while leading us through the everyday, of life's subtle, steady shiftings ("the bird's hunger, seeking shape"). If the opening image of a pool filled with cruelly dredged up roses bespeaks quiet assent ("I stood before them the way an animal/ accepts sun"), the next poem turns immediately to progress (and hence progression) as a modern invention beyond the heaven-and-hell alternatives; finally, the poet concedes, "I lose track of my transitions." In fact, transition defines us. Here, a static painting gives way to "between and among," a simple typeface never yields a perfect copy, and even in a medieval score, two exquisite quavers are connected by a slur. VERDICT Highly recommended.

        Copyright 2016 Library Journal, LLC Used with permission.

      • premium: True
      • source: Booklist
      • content:

        Starred review from August 1, 2016
        In her ninth collection, Boruch (Cadaver, Speak, 2014) has crafted a memento mori of sorts, musing long on ideas of memory, history, and mortality. Sometimes droll and direct, other times austere and elegant, these poems look wryly down the barrel of human nature, quietly accepting what they find. Boruch is endlessly aware of the dead, visiting graveyards and funeral homes, but her acknowledgment of mortality refuses to be paired with fear When does grief become wonder? she asks in Divide, in which she gazes wonderingly at how even animals mourn. Later, in the third of four aubades, she visits a time when windows and mirrors were covered after a death: The house freed up then, broken off from the dead. / For the living. Duh. The living room now / though the dead lived there once. / Oh the dead live everywhere. Boruch is always aware of her predecessors, focusing intently on the details of their legacies, offering a quintet to Dickinson and evocative appearances by Dante, while Before and Every After bears a striking resemblance to Seamus Heaney's District and Circle, an eerie descent into an underworld. Always that / sense of the dead overhearing, with ghosts of all eras lingering here, creating a collection that, irony of ironies, haunts itself.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)

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