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The result is a book of discursive meditations that will amply reward the reader. Part travelogue, part pilgrimage in which the shrines remain hidden until they are recognized later, Larry Levis’s startling and complex fifth book of poems is about the enslavement to desire for personal freedom, and the awareness of its price.
Edited and with an Afterword by David St. John When Larry Levis died suddenly in 1996, Philip Levine wrote that he had years earlier recognized Levis as "the most gifted and determined young poet I have ever had the good fortune to have in one of my classes. . . . His early death is a staggering loss for our poetry, but what he left is a major achievement that will enrich our lives." Each of his books was published to wide critical acclaim, and David St. John has collected together the best of his work from his first five books: Wrecking Crew (1972), Afterlife (1976), The Dollmaker’s Ghost (1981), Winter Stars (1985) and The Widening Spell of the Leaves (1991). "It is not an exaggeration to say that the death of Larry Levis in 1996—; of a heart attack at 49—; sent a shock wave through the ranks of American poetry. Not only was Levis a good friend to many poets (not simply of his own generation but of many poets older and younger as well), his poetry had become a kind of touchstone for many of us, a source of special inspiration and awe. With Larry Levis’ death came the sense that an American original had been lost. . . . It is not at all paradoxical that he saw both the most intimate expressions of poetry and the grandest gestures of art, of language, as constituting individual acts of courage. One can only hope that, like such courage, Larry Levis’s remarkable poems will continue to live far into our literature."—; from the Afterword, by David St. John
The empty bar that someone was supposed to swing to him Did not arrive, & so his outstretched flesh itself became A darkening trapeze. The two other acrobats were thieves. --from "Elegy with a Darkening Trapeze Inside It" The Darkening Trapeze collects the last poems by Larry Levis, written during the extraordinary blaze of his final years when his poetry expanded into the ambitious operatic masterpieces he is known for. Edited and with an afterword by David St. John and published twenty years after Levis's death, this collection contains major unpublished works, including final elegies, brief lyrics, and a coda believed to be the last poem Levis wrote, a heart-wrenching poem about his son. The Darkening Trapeze is an astonishing collection by a poet many consider to be among the greatest of late-twentieth-century American poetry.
Since the appearance of his first book in 1972, Larry Levis has been one of the most original and most highly praised of contemporary American poets. In Winter Stars, a book of love poems and elegies, Levis engages in a process of relentless self-interrogation about his life, about losses and acceptances. What emerges is not merely autobiography, but a biography of the reader, a "representative life" of our time.
A few days before his death in 1996, Larry Levis mentioned to his friend and former instructor Philip Levine that he had "an all-but-completed manuscript" of poems. The poems were written in the six years following publication of his previous book, The Widening Spell of the Leaves, and continue and extend the jazz improvisations on themes that gave those poems their resonance. There are poems of sudden stops and threats from the wild: an opossum halts traffic and snaps at pedestrians in posh west Los Angeles; a migrant worker falls victim to the bites of two beautiful black widow spiders; horses starve during a Russian famine; a thief, sitting in the rigging of Columbus's ship, contemplates his work in the New World. The collection culminates in the elegies written to a world in which culture fragments; in which the beasts of burden - the horses, the migrant workers - are worked toward death; a world in which "Love's an immigrant, it shows itself in its work./ It works for almost nothing"; a world in which "you were no longer permitted to know, / Or to decide for yourself, /Whether there was an angel inside you, or whether there wasn't".
With the publication in 1971 of his first book of poems, Wrecking Crew, Larry Levis at age twenty-five immediately established himself as a literary talent to watch. Since then, four more books and a host of prestigious awards--including the Lamont prize in 1976 for The Afterlife and a National Poetry Series selection in 1981 for The Dollmaker's Ghost--have solidified his reputation as one of our finest contemporary poets. In Black Freckles, his first collection of fiction, Levis switches genres with his dazzling stylistic powers intact. In these eight vivid and unforgettable stories, Levis explores the nature of beauty and loss, and how sometimes they are inextricably connected. Combining a dreamlike sense of time with images startling for their visceral immediacy, Levis's prose astonishes with its imaginative force and linguistic brilliance. In the title story, set in Belgrade, a young man's disturbing ruminations on the world around him depict the injuries a politically repressive society can inflict on the processes of love and memory. "A Divinity in its Fraying Fact" examines the events surrounding the drowning of a young priest, recalled by the boy whose mother discovered the corpse in the family's swimming pool. In "An Illustration of the Castle" Levis reaches across history to present a timeless monologue from a deposed emperor whose conquests ultimately leave him with a sense of loss and futility. Black Freckles pushes the accepted boundaries of the possible in narrative fiction. Each of these stories possesses the same nostalgia-tinged intelligence and lyric energy that has made Larry Levis one of the most widely read and respected poets of our time.
“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.