Annie Finch's wide reputation precedes her. Her first full book of poems attracted the notice and glowing approval of Robert Pinsky, Carolyn Kizer, the Bloomsbury Review, and the Washington Times. Her poems are resonating, musical celebrations of life. Through mastery of rhythm and poetic patterning, this wonderfully gifted poet liberates and illuminates the sacred in the mundane, and gives voice to the earth-centered spirituality of our era.
Annie Finch was a finalist for the 2001 Faulkner Society's Poetry Award. Her poems have been widely published, appearing in the Yale Review, Paris Review, Prairie Schooner, Kenyon Review, and so on. She is also well-known as a writer on the craft of poetry. She teaches at Miami University in Ohio.
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Est. Packaging Dimensions: Length: 8.9" Width: 5.7" Height: 0.4" Weight: 0.45 lbs.
Release Date Apr 1, 2003
Publisher Tupelo Press
ISBN 1932195009 ISBN13 9781932195002
Availability 0 units.
More About Annie Finch
Annie Finch is the author or editor of fifteen books of poetry, translation, and criticism. She has received the 2009 Robert Fitzgerald Award and fellowships from the Black Earth Institute and the Wesleyan Writers Conference. Finch's music, art, and theater collaborations include the opera Marina (American Opera Projects, 2003). Her work has been translated into numerous languages, and she has performed her poetry across the U.S. and Europe. She currently lives in Maine where she directs Stonecoast, the low-residency MFA program at the University of Southern Maine. Alexandra Oliver was born in Vancouver, Canada. She holds an M.A. in Drama/Cinema Studies from The University of Toronto and an M.F.A. in Creative Writing from The University of Southern Maine. Her most recent poetry collection, "Meeting the Tormentors in Safeway" (Biblioasis, 2013) was the recipient of the 2014 Pat Lowther Award and was named a Canadian Poetry Book of the Year by "The National Post." A co-editor of the Canadian formalist review "The Rotary Dial," she also writes articles on film and contemporary art."
Annie Finch currently resides in Oxford, in the state of Ohio. Annie Finch was born in 1956.
Annie Finch's fearless collection entitled Calendars is an intensely sensual and dramatic trip through the female landscape, by way of the poet's deepest thoughts. Within this collection, Finch discusses cyclical feminine-oriented themes relating to birth and death, spirituality and sexuality, ancestry and family.
The rhythmic chanting, the musical refrains, the melodic verses combine to form a magnificent convergence of deeply entrancing poetry offered by one of the most inspired female contemporary poets of our time. The poems, while seemingly simplistic, resonate on a deeper and more profound level once one digests the complete meaning behind Finch's passionate choice of words.
Three poems which struck me as embodying the beauty of feminism were:
"The Menstrual Hut"--a very personal discussion among two entities, seemingly that of the rational mind offering questions to the subconscious soul.
"Landing Under Water, I See Roots" speaks evocatively of our subconscious and conscious desires, our truths and our duplicities, our desire for one ultimate goal of love for all, both in giving and receiving.
"Chain of Women" is a hauntingly beautiful discussion of Persephone, the Greek-based mythological Queen of the Underworld and embodiment of the Earth's fertility.
Calendars represents a perfect collection to coincide with "Earth Day" (April 22nd) as it celebrates the blessed instances of everyday life and speaks to Mother Nature's integral roles within our lives.
Real Communication... Feb 14, 2007
(Annie Finch read as part of the West Side YMCA's Visiting Author's series on February 23, 2006. This is from my introduction to the event).
These are poems that are written to be communicated. That may seem like a self-evident thing for any poet, but many times poetry feels like it is on the page not to reach out, but to endlessly look in. Not to share, but merely to be observed. These poems do indeed look inward, but the translation of what's inside goes far beyond the everyday, and begs to be shared, to be spoken aloud, to connect with a reader's ear, with a reader's heart and mind.
There is, in many of her poems, a longing for simplicity, and alongside it the tacit acknowledgement that the goal may never be reached. There's an expression here of an alternative to accepting things "the way they are," and, with words--with a depth of understanding of their power--to try and shape things the way they could be. Her poems are wonderfully universal, while all the time getting the details right; the poems never yielding to mere observation, but getting deep down in it, tactile, vibrant, alive.
Keeping Time with Annie Finch Nov 6, 2003
In their radical simplicity, "aloofness," and song, the poems in Annie Finch's second book, CALENDARS, recall druidic chants, lauds which go beyond the Julian calendar. Like the old Irish tune, CALENDARS brings back, brings back a bonniness that lies over oceans of time. Finch, whose verses have charmed many of us for years, has defied F. Scott Fitzgerald's dictum that there are no second acts in America. CALENDARS makes a strong Act Two in the unfolding drama of Finch's literary career.
The Real Thing! Jul 11, 2003
Here is a poet who knows what she is doing. Rhythm, language, feeling, simplicity, complexity, surprise. Sex, time, birth, nature, art. Annie Finch transcends current categories. No wonder there are remarks from such different kinds of poets on this cover together...