By Stephen Dunn
Winner of the 2001 Pulitzer Prize for Poetry.
A clever and swish new assortment by way of one in all our "major, essential poets" (Sidney Lea). The mysteries of Eros and Thanatos, the obdurate persistence of brain and physique within the face of diminishment--these are the undercurrents of Stephen Dunn's 11th quantity. "I am attracted to exploring the 'different' hours," he says, "not purely of one's lifestyles, but additionally of the bigger ancient and philosophical existence past the personal."
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Extra info for Different Hours
Hence the gene ral title of all these articles—"Russia and the Intelligentsia". Russia here is not a state, not a national entity, not the fatherland, but a kind of complex body, constantly changing its outer form, fluid (like Heraclites' world) and yet unchanging somehow in what is most fundamental. The nearest definition for this conception are the words: "The people", "the soul of the people", "the element", but any one of these words on its own still does not exhaust the musical significance of the word Russia.
No. 25); there are no capital letters, and the poet promises that he will disturb her no longer. The first poem of the next book, "Thou hast gone into thefieldswithout return" seems, in conjunction with this, to establish the final separation of the wife from the Divine Being: Thou who holdest land and sea Immovably in Thy slender hand. (Cf. No. ) Lyubov' Dmitriyevna's plea to be loved for herself, "without mysticism", was, however, merely a contributory factor to Blok's growing difficulty in writing about the "Most Beautiful Lady".
The "new men" would take over. They must be helped when the time came. By hastening that time the revolutionary "intelligentsia" was merely sawing oif the branch of the tree on which it had been sitting, merely laying faggots at its base to make a merrier blaze. " Blok wrote of his spiritual heritage and, of his own home, his material birthright: "But I love it so much that I wouldn't mind selling it, I would regret nothing. " In spirit a Greek rather than a Hebrew, Blok disliked the Bible and there is more of the Liturgy than of the Testaments in his poetry, but one text to which he returns again and again, from 1907 onwards, is the line which, in "The Song of Fate", he originally puts in the mouth of his mother: Perfect love casteth out fear.