Alicia Ostriker Books

William Blake is one of those soaring pioneers of the human imagination whose visions and their scope make you feel rather humble at times. His works are quite diverse and his output during his life very considerable. Blake's longer poems, such as 'Jerusalem' or the 'Four Zoas', would easily make large books of their own in any edition of his works.

This Norton's edition contains selections from several of Blake's major works, including his Songs of Innocence and Songs of Experience, his visionary poems, as well as his political poems. The book also contains many scholarly aids including a chronology of Blake's life, critical essays by leading Blake scholars, and colour pages showing Blake's beautiful illustrations to some of his works (as well as being a great poet Blake was also a painter and engraver of very considerable ability). While critics never seem to really reach any consensus on what Blake's poems really 'mean' (Blake is read variously as a Gnostic by Harold Bloom, a revolutionary critic of England during the industrial revolution by Terry Eagleton, or as a disciple of Swedenborg and Boehme by others) Blake's poems contain incredible beauty and visionary power and polyvalent symbols energised with multiple meanings. I think if one consistent theme can be read from Blake and his poems, and I think this was his own intent, was that the power of the human imagination and what it produces in art transcends any attempt to 'bracket' or reduce it to a dead and static system of lifeless scientific symbols; I imagine Blake would class many critics of his work as agents of Urizen, trying to carve out of the fiery energized cosmos of the living human mind the perfect frozen archetype which orders all things perfectly but in doing so, misses the whole point.

Blake's poems then should be read not by trying to impose what you want to see in them but by trying to let them speak to you and perhaps, ignite your own spark of imagination, as Blake has done with many brilliant poets from Yeats to Allan Ginsberg and many others.

Nice book, but too bad its front picture cover is defaced by Norton's double-layer of big gold stickers with high-tack adhesive that makes them impossible to remove without adhesive remaining on the cover.

This is absolutely the best compendium of Blake's work which articualtes an outstanding range of his vision. This edition acknowledges the poetry and color paintings of a consumate craftsman of the imagination on high quality, acid free paper and is nylon stitched and bound in signatures to last a lifetime. Books are rarely made this way but the Norton edition is a beautiful rendering of the first, and perhaps, primary British Romantic poet.

This is a book is quite good as most Norton Critical Editions are. It has a lot of what is needed by students for a course on Blake or, more likely, a course that spends part of a term on Blake.

It has some biographical material and some maps of England and London at the time Blake lived. There are also a good helping of black and white as well as color plates of Blake's illuminated works. The color plates are only good - the color is not produced beautifully. The student will only get an impression of the true power of Blake's artistry. However, a good teacher will point the student to the Blake Archive at:... so the students can see the works more completely with variants and in better color (if you have good video cards and monitors).

One of the best parts of this book begins on page 176 where working drafts are shown and compared to the final versions. There is also a nice selection of critical writing on Blake - criticism from Blake's time through the present. There is also a useful bibliography.

In some ways this is "Erdman Lite", but it is much more portable than Erdman and for an introductory course on Blake it is probably sufficient. I am glad that I have it in my library.

But please don't stop here!

(Alicia Ostriker read at the West Side YMCA on Friday, February 2, 2007 as part of the Writer's Voice Visiting Authors Series. This is from my introduction to the event).

Reading Alicia Suskin Ostriker's poems in No Heaven is like having someone who needs to impart something essential to you leaning in, quietly and yet with great intensity, showing you something of utmost importance, never lecturing, never condescending, the unearthing of vital information seeming to occur in the moment of telling, so when, the payoffs in the poems themselves take place, in the burst of the revealed moment, the impact is intense and profound.

The ease of the language, its casualness and conversationality might make one overlook to care with which the language here is wrought.

Alicia shows relationships as clearly the commingling of two distinct entities; whether we completely understand the person we're with or not, these poem's simple conversations mirror the familiarity of those long together, whether lover, family member or dear friend. There's that easy connection, yet always so fragile, knowing that we must make ready to part from all we love and hold dear, and yet how we must always stay in the moment, so that what we have will not become subsumed by what we have lost, or will lose. She writes, in the poem "Mid-February":

"Friend, it's a day for a walk
are we going to walk it?"

...and that becomes the challenge of these poems, to have us not waste the day, not take for granted that the beauty and pain and joy and sorrow will continue ever on.

Alicia Ostriker is a quintessential American poet in the tradition of Walt Whitman and Muriel Rukeyser. NO HEAVEN is the follow-up to Ostriker's brilliant VOLCANO SEQUENCE (lamentably left off the Pulitzer, National Book Award and National Book Critics Circle Award lists)--and here once again we find Ostriker writing poems about real people, crucial human experience and the spiritual essence that runs through everything. NO HEAVEN is a brilliant collection that is hard hitting ("Liking It," "Tearing the Poem Up and Eating It," "Elegy before the War,"), tender ("Brooklyn Twilight," "In the Forty-Fifth Year of Marriage"), and humorous ("When we leap, we hang in the air like Nijinsky taking a nap" from "Pickup," ". . .when/that brilliant Jew poet took/The train for the next world/American nirvana/Temporarily went with him" from "Elegy for Allen.") NO HEAVEN contains crucial poems for our misguided times from one of America's (or should I say the world's?) best, bravest, and most eloquent poets.

No Heaven is a terrific book-- just what poetry should be: at once moving, because it touches old and deep knowledge, and new because it opens heart and mind again. Death is always present as real, heightening consciousness. Every poem contains "a piercing glance into the life of things," as Marianne Moore said, a unity of soul and form. Ostriker reveals the horror and sacredness of everyday life by constantly reinventing the words believed to be ordinary, here transformed. Buy this beautiful collection and find yourself in no heaven but on incandescent eternal ephemeral earth -- the place to be human.

With eager breath, Ostriker's collection of poetry comes to life with much to convey. These sensuous poems weave a breath-taking tapestry about the feminine and the holy surrounding us in our lives, often hidden but just beneath the surface. Her knowledge of the Old Testament is clear here, and it more than enhances these poems. It gives them an added grace and strength. These poems are almost like a discussion with holy aspects of the universe, grappling toward a glorious knowing. The energy and imagery brought to mind Anita Diamant's "The Red Tent" and other feminist works, and "The Volcano Sequence" inspires just as strongly.

This is an extraordinary new book from one of America's best poets, full of powerful imagination, formal inventiveness, tireless curiosity, and profound challenges to the spirit and social arrangements of our time. Extending traditions of modernist and postmodernist long poems, The Volcano Sequence is a 119-page poem in 9 major sections plus a coda, written in a variety of poetic styles and voices ranging from lyrical meditations to provocative interrogations--of the gods, the universe, our politicians and philosophers, and our literary traditions. One of Alicia Ostriker's great strengths is her ability to write poetry that is simultaneously accessible, intellectually ocean-deep, and filled with a page-turning emotional grip. The Volcano Sequence's poetic explorations interweave an array of spiritual, psychological, and social themes. In one of the central images of the book, Ostriker takes on the role of a feminist midwife trying to use her imaginative powers to re-birth female energies that have historically been devoured by patriarchal conventions. Like lava in a volcano, long-repressed liberating energies can eventually find a way to get out and reshape our world--"sometimes the stories take you and fling you against a wall / sometimes you go right through the wall"(119). Almost every page of this new book is filled with memorable lines, the kind of poetry that makes your spine sit up and take notice, that makes you see the world from new, amazing angles.

The poetry of Alicia Suskin Ostriker is complex, original, and written with a truly literate and skilled economy of words. The Volcano Sequence is a compilation of verse that fully showcases Ostriker a master poet in the full vigor of her imagination and wordsmithing talent. Learn To Recognize The Gestures: when her hands cup her breasts/she enjoys her sweet strength/sap ascends the oak//dancing she causes/the young to dance/and to kiss//she may carry a weapon/a knife a gun a razor/she may wear a belt of skulls//when she discharges her anger in laughter/white lightning illuminates the horizon/from pole to pole//often she lays her hand over her eyes/like a secretary leaving/an office building at evening//cradling that infant boy/sitting him on her lap/smoothing the folds of her dress: this means pity//arms crossed: this signifies judgment.

This is an impressive collection of known works and newly discovered feminist pieces in their original Hebrew and in stunning translations. Biblical and rabbinic literature is culled for feminist voices; midieval literature from around the world is mined; 20th century Hebrew poets, including a good number of current writers, are represented. There are many poems that you'd expect to find in a collection like this, and many that will be new to you. Bravo to the editors, themselves poets and translators, for this landmark contribution to Hebrew feminist literature.

Ostriker brings all the passion and clarity of her poet's vision to a remarkably informed reading of the major stories of Torah (the Jewish Bible). Never narrow or parochial, she cracks open the texts and lets the images beneath the frozen layers of conventional interpretation flow wildly and beautifully. She speaks hard truths in a spirit of compassion and love. If you have any interest in what keeps Judaism alive, read this book!

Though I firmly support the general consensus that Shakespeare is our greatest poet--the more one reads, the more this becomes apparent--I am equally firm in stating that there has been no greater visionary poet than Blake, not even Milton.

William Blake lived and wrote almost entirely ignored during his time, regarded, if at all, as an eccentric painter. This speaks not to the quality of his works; it speaks to how ahead of his time he was. Nobody knew what to make of him, and I must confess that even now it is difficult to cement his place.

One can say for certain, however, that he is one of the greatest poets; aside from the Bard, Keats (whom I adore), and Milton, he has no companions in this uppermost echelon. Reading Blake is sometimes overwhelming. The power of his vision and the vivacity of his language sometimes overpower the faculties, and makes one nearly break down into tears. His poetry is beautiful; it is complex; it is at times incomparably deep and more powerful in force of language than perhaps any other, even Shakespeare's.

Many restrict their reading of Blake to his accessible and delightful lyrics SONGS OF INNOCENCE AND OF EXPERIENCE (which must be read side-by-side to fully appreciate what he is doing!), but to do so is to bind oneself in a nutshell. Read THE MARRIAGE OF HEAVEN AND HELL, as an introduction into his vast vision. Go on to read THE BOOK OF URIZEN, MILTON, JERUSALEM, etc., but take it slowly. Blake is one of the most difficult poets; he is infinitely complex. He creates his own, metamorphosing mythology, which parallels Biblical mythology and that of Milton, and expounds it throughout his poems. To fully appreciate them, one must not only read, but also study his works. I highly recommend doing so--William Blake is infinitely rewarding.

A note: The Penguin edition reviewed here is good, but, if possible, try to acquire an illustrated copy of Blake's work. Blake wrote most of his great poems in the style of illuminated manuscripts (he is actually the precursor of the graphic novel genre), and his illustrations are profound and beautiful. It seems to be increasingly difficult to acquire his illustrations in book form, so if you cannot, at least view them at blakearchive.org. They are magnificent!

I don't know upon what planet this poet was born, but it certainly wasn't earth. Blake is the ultimate Gnostic, the ascendent correspondent, the bringer of truth from regions we have no knowledge of. The core of his philosophy can be summed up in his assertion in "The Marriage of Heaven and Hell:" Thus men forgot that All deities reside in the human breast...Isaiah answer'd. I saw no God, nor heard any, in a finite organical perception; but my senses discover'd the infinite in every thing, and as I was then perswaded, & remain confirm'd; that the voice of honest indignation is the voice of God."

Blake is the poet of true revolution, true Romanticism and true spirit. This is the definitive volume of his life-work, without, it is true, the illustrations that augmented his genius. Yet there is no real necessity for etchings here, as the genius of his poetry will etch its own image in your mind if you are receptive to his universal symbolism. Blake was the first truly modern poet, prefiguring Mallarme, D.H. Lawrence, Baudelaire, in particular. He was also a great mythologyzer, the precursor of Campbell, Frazier, and even Alan Watts in many respects. The Penguin Edition is not illustrated, it's true, but there is so much to be mined here that one can easily lose oneself in the labyrinth of Blake's excavations.

Recommended without reservations. A truly paradigm shifting poet and artist. Seek out his illustrative, divinely inspired watercolors, as well. A true visionary, if there ever was one!!
BEK

It is the shorter poetry of Blake, that of the 'Songs of Innocence' and 'The Songs of Experience' that lives for me, and I suspect for most others. Though Northrop Frye the master literary critic saw in Blake's longer poems a key to reading the whole universe of Literature, I strongly suspect those long- lined abstraction filled 'visions'are outside the interest and staying power of most readers.
Blake was one of the great aphoristic poets, and along with the mystical visionary lines, there came lines like lightning sudden flashes of the mind which strike us strongly and remain with us.
Here is one of the most well- known Blakean lyrics
:
And did those feet in ancient time
Walk upon England's mountains green?
And was the holy Lamb of God
On England's pleasant pastures seen?

And did the Countenance Divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among these dark satanic mills?

Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my chariot of fire!

I will not cease from mental fight,
Nor shall my sword sleep in my hand,
Till we have built Jerusalem
In England's green and pleasant land.

Blake was the lunatic lover one of the great madmen of poetry who according to his wife gave her little time as he most of the time was 'in Paradise'.
Each reader will going through the Collected Poems stop and select what they find congenial for themselves.
In the Collected Poems of Blake there is very much to stop for, including many of the most memorable lyrics and lines Poetry in English has given the world.

" Little Lamb who made thee, Dost thou know who made thee?"

"Tiger, Tiger, burning bright in the forest of the night/ What immortal hand or eye/ Dare frame thy fearful symmetry?/

blake's poems are not black ink on these newsprint pages...blake's poems are engraved plates wild and colorful...

but it's fantastic anyway blake is not The Lamb and not The Tyger

tirzah los orc urizen enitharmon vala rahab urthona, all divided and united in the cruelties of holiness...jerusalem the four zoas the book of urizen the song of los...echoing our cries.

I was thrilled when I found this book. In our Non-Western World Literature class, we read poets such as Forugh Farrokhzad. THis is an excellent collection of her work. Readers will be surprized at her insight into the lives of women. As a country we have been isolated from the creative talent that Iran contains. I found this very enlightening.

"Sin" has a very nice selection of the great Forough's poems. The translation is "generally" well.
The reason that I gave 4 stars, is due to some details in the poem translation. I read the Persian version as well and I could understand all in the English translation. But for most of the friends didn't know Persian, the translation was sometimes far from the original version; plus the semi harmonic intonation in the poetry hasn't been well respected in the translation.
Although I'm saying it could be better, I very much recommend this book, its very valuable and worth it to spend time and attention.

A wonderful book of literary criticism discussing the works of HD, Anne Sexton, Sylvia Plath, Adrienne Rich, and May Swenson. I was initially leery because the book was first published in the early 80s. However, Ostriker's ideas are still fresh, interesting and thought provoking. She almost has me agreeing with her that HD is the greatest woman poet of the 20th century.... almost. The title might be misleading for some. This is not a how-to manual for aspiring writers. This is a wonderful book of essays that sent me straight out to re-read poets whose work I hadn't read in years. Additionally, Ostriker's comments about her own creativity process have lead me to read some of her work as well. I was not disappointed. This book is a must read for anyone interested in 20th Century poetry.

Alicia Ostriker's marvelous guide to writing is not only unique in it's format and style, but is simply a wonderful guide for how to capture the essence of the increasingly popular women's writing movement. Oprah's book club has really increased interest in women's writing, with authors such as Jane Hamilton, Janet Fitch, and Ursula Hegi, to mention just a few. Doubtless, many aspiring writers have wanted to capture that same magic that makes those books so appealing--and this book is the first step! It is compulsively readable, immensely encouraging, and ultimately, a supreme, unparalleled guide to becoming a better, more readable writer. The only thing that prevents this book from receiving Amazon's highest rating is that there could have been more exercises and there still seemed enough information left out to warrant another book or perhaps a series. Nonetheless, this is an extremely enlightening guide and well worth its purchase price. Bravo!