Item description for Love Song with Motor Vehicles (American Poets Continuum) by Alan Michael Parker...
In Love Song with Motor Vehicles, Alan Michael Parker marshals a penetrating wit and sharp irony that mirrors that of Charles Simic and John Berryman. Parker's robust imagination explores the music in places poetry doesn't usually travel. His poems find their epiphanies early on, and, most strikingly, do not close at their endings but, rather, open.
Alan Michael Parker is the author of two books of poetry, and co-editor of two scholarly works, The Routledge Anthology of Cross-Gendered Verse and Who's Who in 20th Century World Poetry (Routledge Books). In 2000, his poems were included in all three major volumes of "younger American poets" (Carnegie Mellon University Press, University of Southern Illinois Press, and University of New England Press).
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Est. Packaging Dimensions: Length: 0.5" Width: 6" Height: 8.75" Weight: 0.35 lbs.
Release Date May 10, 2003
Publisher BOA Editions Ltd.
ISBN 1929918356 ISBN13 9781929918355
Availability 0 units.
More About Alan Michael Parker
Alan Michael Parker (www.amparker.com) is the author of five collections of poems including The Vandals (BOA, 1999), and Love Song with Motor Vehicles (BOA, 2003). He is editor of The Imaginary Poets, co-editor of The Routledge Anthology of Cross-Gendered Verse, and Editor for North America of Who's Who in 20th Century World Poetry.
Alan Michael Parker currently resides in the state of North Carolina. Alan Michael Parker was born in 1961.
Reviews - What do customers think about Love Song with Motor Vehicles (American Poets Continuum)?
So Many Questions to Pose, So Little Time! Sep 4, 2007
The poems in this collection are full of questions. These poems ask how a poet can describe the modern world--the domestic, the urban, the gods even--by using the ancient form of poetry.
Parker has a strong control of the line and succint phrasing. Such as in "On the Red Eye" : Next to me, too cool to be excited, A teenage girl in black and black and platform shoes Rewinds a tape, the muted whine A sound I imagine she hears God make.
I enjoyed the poems with the males voices, in particular, in this set for their truth, for their reflection of people I feel I know.
My favorite poem in this collection is "TV" which just so perfectly captures a moment.
This is the kind of collection that I feel most anyone could read and enjoy. I highly recommend this for the novice to the advanced poetry reader.
This One Asks the Big Questions May 30, 2003
For this reader, Parker's new book turns a significant corner in a poetic career. His debut volume (Days Like Prose, '97) marked his as a sharply distinctive new voice. The second collection was freshly formalist, deceptively fun, and a great read; five years later I still think it's no less than brilliant (The Vandals, `99). That book's success was a potential problem for Parker's third volume, in the hard-act-to-follow department. But with Love Song, Parker has become the kind of poet I'll continue to read from volume to volume, because his lifetime work will repay that investment. These poems follow The Vandals in every right sense, including leaving them behind, all but the echoes. Now what was there from the start really comes clear for me - though his voice and his sensibility are postmodern, Parker is an elegiac poet whose vocation is representing mutability, very much in the 17th century metaphysical sense. His speakers are smitten with the sentient world (in which they include enlivened objects), identifying with as many doors and vases as with people, and they're always finding unlooked-for qualities to be curious about, and then to love. Equally balanced between celebration and dirge, often in the same poem, he is maturing into a poet interested in the big questions, asked in small ways: how to live intensely with the knowledge of mortality, how to "delight in our daily dying," and then how to "go to the door/ and step out, and be gone." (These lines come from the first and last poems in the volume.) As time goes on, I read only the poets who ask such stuff of their art.
Good Stuff May 24, 2003
A very strong collection. There are enough poems here that have immediate, powerful impact to teach me patience for those which demand more of my intelligence. Parker's language is also consistently surprising and energetic, tight and musical: the lines are studded with sound events . . . unexpected assonance and slant rhyme. I love how the surface music (the surface play) creates a tug against the deeper emotion in these poems. They manage to be both slick and playful, and deeply felt, too.
There are a number of particularly American portraits here; these are especially good. I'll likely photocopy them for my classes: "Paradise"; "The Piano"; "Librarian's Song"; "Books and Money"; "The Sybil." They strike me as coming near the heart of the book, an American love song to people recognizable from our country, our moment. There's almost something Whitmanian about it . . . except that it's 2003, so there's an ironic edge, a recognizable sharpness to the scenes . . . .
I also admire the stance of this book. How can a book be so far from sentimentality when the speaker tells us over and over again that he loves us? His onliest affection . . . . No small achievement. It's good stuff; it could make you a more careful reader.
A Splendid New Book May 22, 2003
The release of Alan Michael Parker's third book of poetry is an occasion to rejoice. His work both deals relentlessly with contemporary culture and is informed by an encyclopedic knowledge of literary history. He sees with Shakespeare and Eliot while running a diagnostic on an SUV, as the title of his new collection, _Love Song with Motor Vehicles_, implies. Parker is virtuoso with the English language, who thrills the reader with his music, his intelligence, and the astonishing, lovely risks and leaps of the work.
In _Love Song_ Parker proves, as he did in his two earlier collections, that he is a brilliant craftsman but not merely so; his work is philosophically and psychologically complex, accessible to the reader, and reveals empathy for his subjects. One such moment of philosophical inquiry and personal empathy occurs in his poem, "Text" in which the poet admits "emotions have no words," and meets a woman snowblowing her driveway: "the enormous trumpet of the red machine / blew powder in the air / noise going nowhere as she wept." The poet asks what all real poets must: how can my pretty words account for the suffering of others? what good do they do? There is no answer except in the hope of reaching the reader, as Parker beautifully puts it in the title poem of the collection: "(In the gap /between the picture and the sound / you take my hand.)" This book is always reaching out to you with wit, music, painting, philosophy, and, above all, humanity.
Fabulous Collection May 21, 2003
Having followed Mr. Parker's poetry through three books, I have to say that this new one is his very best. It's lyrical and moving without a false note of sentimentality. It's deity poems are magnificent.