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"My Shining Archipelago" is a real find.
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in his new house for a coffee table book. The price was good and the condition of the book was excellent. You can't beat the packing and shipping time.
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The book opens with the sad and lovely "Diabetes," which describes its initial and eventual symptoms: "I thirsted like a prince...my belly going round and round with self-/ Made night-water..gangrene and kidney/ Failure...boils blindness skin trouble falling/ Teeth coma and death."
Knowing a diabetic personally makes this melancholic meditation highly poignant for me: "One pocket nailed with needles and injections, the other dragging/ With sugar cubes to balance me in life...Tell me, black riders, does this do any good?"
The poem's diabetic is courting death, "a livable death at last": "Heavy summer is right/ For a long drink of beer (a diabetic no- no)...my body is turning, is flashing unbalanced/ Sweetness everywhere, and I am calling my birds."
"Messages" contrasts the childhood and adolescence of the poet's son. In childhood, father and son chase "Butterflies"; all is playful frivolity. In the gorgeous "Giving a Son to the Sea," Section II of this poem, Dickey realizes he will lose his son to other loves and other lands: "And I must let you go, out of your gentle/ Childhood into your own man suspended..." It oozes fatherly affection as the poet addresses his "gentle blonde/ Son."
"Apollo" honors American astronauts but sees Dickey going a bit over the top verbally, something he is perpetual danger of doing. On the other hand, his abstract mysterious work in "The Place" is stunning: On a frigid winter night, a pair of lovers look for a place private enough to share a secret.
"The Cancer Match" brings bracing optimism to a troubling diagnosis, and "Venom" brings the same message to a snakebite sufferer. This pair of poems are like a Southern faith-healing; they ask sheer belief and willfulness to conquer death: "Turn the poison/ Round turn it back on itself O turn it/ Good: better than life they whisper:/ Turn it, they hammer whitely:/ Turn it, turn it,/ Brother."
"Blood" is about the murder of a woman, and the reader can't be sure if the poet is the killer or someone who stumbled upon the scene. I recommend it for its beautiful violence and its mystery. "In the Pocket" is a witty ode to a football quarterback; it's great to see Dickey take on unlikely poetic topics. It contains the great lines "My friends are crumbling/ Around me the wrong color is looming," as the QB scrambles for safety.
"Madness" is a masterpiece about a beloved family dog dying because it coupled with a rabid she-wolf. A chilling study of a canine femme fatale which has a subtext about human adultery, the poem suggests a conflict between the longing for freedom and domesticity. This is a sensual tour-de-force, perhaps the volume's best poem. The rabid she-wolf is "slopping soap." "She burned alive/ In her smell." She taunts the dog, claiming, "I'm what you come/ Out here in the bushes for." The beloved pet, the "spirit of the household" is welcomed back soon after his coupling, his fatal bite confused for damage from barbed wire. When he develops the wolf's disease, however, and bites the family's youngest child, he must be put to death.
"The Eye-Beaters" is a long complex and challenging poem about dealing with trauma. The poet visits a home for children, many of whom have gone blind and are strikng their eyes with their fists. This is too much to take, and the poet invents a fiction to deal with this horror. It's an argument for romanticizing, something the poet does in this whole emotion-charged, sensual collection. "The Eye-Beaters, Blood, Victory, Madness, Buckhead, and Mercy" captures the tumult of late-60s America. Dickey writes abstract associative free verse, but make every word count in a way even the Beat poets rarely do. This is a poetic masterwork, very masculine, very Southern, from the author of "Deliverance." Get it and soak in its honesty and vitality.
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