Böcker av Donald Hall

Donald Hall's remarkable life in poetry ? a career capped by his appointment as U.S. poet laureate in 2006 ? comes alive in this richly detailed, self-revealing memoir.Hall's invaluable record of the making of a poet begins with his childhood in Depression-era suburban Connecticut, where he first realized poetry was ?secret, dangerous, wicked, and delicious,? and ends with what he calls ?the planet of antiquity,? a time of life dramatically punctuated by his appointment as poet laureate of the United States. Hall writes eloquently of the poetry and books that moved and formed him as a child and young man, and of adolescent efforts at poetry writing ? an endeavor he wryly describes as more hormonal than artistic. His painful formative days at Exeter, where he was sent like a naive lamb to a high WASP academic slaughter, are followed by a poetic self-liberation of sorts at Harvard. Here he rubs elbows with Frank O'Hara, John Ashbery, and Edward Gorey, and begins lifelong friendships with Robert Bly, Adrienne Rich, and George Plimpton. After Harvard, Hall is off to Oxford, where the high spirits and rampant poetry careerism of the postwar university scene are brilliantly captured. At eighty, Hall is as painstakingly honest about his failures and low points as a poet, writer, lover, and father as he is about his successes, making Unpacking the Boxes ? his first book since being named poet laureate ? both revelatory and tremendously poignant.

This original paperback brings together for the first time all of Donald Hall's writing on Eagle Pond Farm, his ancestral home in New Hampshire, where he visited his grandparents as a young boy and then lived with his wife, the poet Jane Kenyon, until her death. It includes the entire, previously published Seasons at Eagle Pond and Here at Eagle Pond; the poem ?Daylilies on the Hill? from The Painted Bed; and several uncollected pieces. In these tender essays, Hall tells of the joys and quiddities of life on the farm, the pleasures and discomforts of a world in which the year has four seasons -- maple sugar, blackfly, Red Sox, and winter. Lyrical, comic, and elegaic, they sing of a landscape and culture that are disappearing under the assault of change.

A candid memoir of love, art, and grief from a celebrated man of letters, United States poet laureate Donald HallIn an intimate record of his twenty-three-year marriage to poet Jane Kenyon, Donald Hall recounts the rich pleasures and the unforeseen trials of their shared life. The couple made a home at their New England farmhouse, where they rejoiced in rituals of writing, gardening, caring for pets, and connecting with their rural community through friends and church. The Best Day the Worst Day presents a portrait of the inner moods of "the best marriage I know about," as Hall has written, against the stark medical emergency of Jane's leukemia, which ended her life in fifteen months. Between recollections of better times, Hall shares with readers the daily ordeal of Jane's dying through heartbreaking but ultimately inspiring storytelling.

A contemplative selection of twelve short stories from the celebrated author Donald Hall, Willow Temple focuses on the effects of divorce, adultery, and neglect. Hall's stories are reminiscent of those of Alice Munro and William Maxwell in their mastery of form and their ability to trace the emotional fault lines connecting generations. "From Willow Temple" is the indelible story of a child's witness of her mother's adultery and the loss that underlies it. Three stories present David Bardo at crucial junctures of his life, beginning as a child drawn to his parents' "cozy adult coven of drunks" and growing into a young man whose intense first affair undergirds a lifelong taste for ardor and betrayal. In this superbly perceptive collection, Hall gives memorable accounts of the passionate weight of lives.

Donald Hall's fourteenth collection opens with an epigraph from the Urdu poet Faiz: "The true subject of poetry is the loss of the beloved." In that poetic tradition, as in THE PAINTED BED, the beloved might be a person or something else - life itself, or the disappearing countryside. Hall's new poems further the themes of love, death, and mourning so powerfully introduced in his WITHOUT (1998), but from the distance of passed time. A long poem, "Daylilies on the Hill 1975 - 1989," moves back to the happy repossession of the poet's old family house and its history - a structure that "persisted against assaults" as its generations of residents could not. These poems are by turns furious and resigned, spirited and despairing - "mania is melancholy reversed," as Hall writes in another long poem, "Kill the Day." In this book's fourth and final section, "Ardor," the poet moves toward acceptance of new life in old age; eros reemerges.

Donald Hall's poignant and courageous poetry speaks of the death of the magnificent, humorous, and gifted Jane Kenyon. Hall speaks to us all of grief, as a poet lamenting the death of a poet, as a husband mourning the loss of a wife. Without is Hall's greatest and most honorable achievement-his gift and testimony, his lament and his celebration of loss and of love.

Distinguished poet Donald Hall and award-winning artist Barry Moser have teamed up to create a hilarious, affectionate portrait in contrasts of our companions, and often best friends, a cat and a dog. With evocative words and masterful paintings, they delineate the doginess and catlike qualities that everyone will recognize.

For nearly forty years, Donald Hall has stood in the front rank of American poets. The title poem, an autobiographical sequence, takes Hall from his boyhood to his growing acquaintance with poets--seniors like Robert Frost and contemporaries like Robert Bly. It sees him growing into manhood, fatherhood, grandfatherhood, and a happy second marriage. When his life inevitably moves into vicissitude, even tragedy, he will tell the dreadful truth about himself and the challenges of his time on earth.

This is Donald Hall's most advanced work, extending his poetic reach even beyond his recent volumes. Conflict dominates this book, and conflict unites it. Hall takes poetry as an instrument for revelation, whether in an elegy for a (fictional) contemporary poet, or in the title series of poems, whose form imitates the first book of the Odes of Horace. The book's final section, "Extra Innings," moves with poignancy to questions about the end of the game.

“Old Poets is an indispensable jewel.”—Washington Post“An astonishing array of encounters...Hall’s observations are shrewd and generous.”—Boston GlobeIntimate portraits of great poets in old age, giving new insight into their work and their lives, and context to the often flawless art created by flawed human beings. The best of themselves endure, and the old poets’ existence and endurance gives readers courage to pursue their own vision. Donald Hall (Essays After Eighty and A Carnival of Losses: Notes Nearing Ninety) knew a great deal about work, about poetry, and about age. Each of those things come together in this unique collection. We hear about Robert Frost as Hall knew him: vain and cruel, a man possessed by guilt. But, as Hall writes, “The poet who survives is the poet to celebrate; the human being who confronts darkness and defeats it is the one to admire. For all his vanity, Robert Frost is admirable: He looked into his desert places, confronted his desire to enter the oblivion of the snowy woods, and drove on.”Hall’s essays are once both intimate portraits and learned treatises. He takes us on a pub crawl through the Welsh countryside with the word-mad Dylan Thomas; to the Faber & Faber office of T. S. Eliot, who had discovered more happiness in age than in youth; to a reading where Robert Frost’s public persona hid the truth; to Brooklyn for lunch with the enigmatic Marianne Moore; and to Italy and for a visit with the notorious Ezra Pound. By the time Hall met them, each poet was, he observed, “old enough to have detached from ongoing poetry, to feel alien to the ambitions of the grandchildren.”Also included are portraits of the poets who taught Hall as a writer: the unfailingly kind Archibald MacLeish and Yvor Winters, from whom he learned the most about poetry. Along the way are observations about many other poets and the literary cultures that sustained them.Contents include: “Vanity, Fame, Love, and Robert Frost,” “Dylan Thomas and Public Suicide,” “Notes on T. S. Eliot,” “Rocks and Whirlpools: Archibald MacLeish and Yvor Winters,” “Marianne Moore: Valiant and Alien,” and “Fragments of Ezra Pound.”For lovers of literature, this is a gorgeous remembrance and likely to compel an immediate visit to the poetry section of the nearest bookstore—as Hall writes, “Their presences have been emblems in my life, and I remember these poets as if I kept them carved in stone.”

Companion volume to: The Oxford book of children's verse.