Winner:
12th New Hampshire Literary Award, Poetry
In this series of poems responding to Johann Sebastian Bach’s spectacular “Goldberg Variations,” New Hampshire State Poet Laureate Alice B. Fogel has paid homage to a 274-year-old masterpiece and, with the theme of spirit and embodiment that music—and life itself—evoke, has rendered from it a luminous new interpretation. Bach created the Goldbergs’ 32 sections using nearly all the styles of western European music at the time; Fogel responds in kind with a range of contemporary poetic styles, including narrative, lyric, and experimental, all confined within the 32-line structure she has borrowed from the composer’s 32-bar format. Interval mimics the “baroque” effects of overlapping melodies and harmonies by layering sound, syntax, and sense in multiple voices exploring self, identity, and being. In capturing the essence of this iconic masterpiece, through these poems Fogel has created her own music.
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Alice B. Fogel is the poet laureate of New Hampshire and works both as a teacher of creative writing at Keene State College and as an academic support tutor at Landmark College. She is the author of three poetry collections: Be That Empty, a National Poetry Foundation bestseller, and Strange Terrain: A Poetry Handbook for the Reluctant Reader. Her poetry has appeared in numerous literary journals and anthologies, and has been nominated six times for a Pushcart Prize. She lives in Acworth, New Hampshire.
Genesis and Process: The Making of ITL[Interval]ITL,
Aria,
Variation 1: Yhwh,
Variation 2: Interval,
Variation 3: Snapping turtle,
Variation 4: Child,
Variation 5: Spinning,
Variation 6: Snake,
Variation 7: Girl,
Variation 8: Request,
Variation 9: Potter,
Variation 10: Moths,
Variation 11: Reflection,
Variation 12: Happy Prince statue's bird,
Variation 13: Artist,
Variation 14: Here after,
Variation 15: Woman at the dam,
Variation 16: Actor,
Variation 17: Like waking,
Variation 18: Baker,
Variation 19: Fish,
Variation 20: Duration,
Variation 21: Dying man,
Variation 22: Equivocator,
Variation 23: Teatime,
Variation 24: Leatherman,
Variation 25: Freed slave,
Variation 26: Winter solstice,
Variation 27: Awakener,
Variation 28: Transplanted heart,
Variation 29: Boats,
Variation 30: Husband,
Aria,
Acknowledgments,
Gratitude,
About the Author,
Aria
All phases have beauty. Or in shaping time
was Bach lost to all but the count, not consonance?
One in the other, carriage and contained,
body and spirit, hitched, indivisible:
From the ground up with fractal scaffolding
he built his arc, this liquid bridge for the daily
practice of sameness, sequence, awaking
change, the brief, the sustained — and the enduring
whole bears as one all notes, as one word might
all said or sung. Where does it come from, the material
of the beautiful? And how aligned or skewed
toward discord, how reasoned with ardor and risk,
how little or much design or dumbfound —
how can we know? Grave, heavenly,
like the illumined face of a god rubbed from stone,
these breaths so wholly numbered and numinous ?
A mere miracle of physics? Mathematics' holy writ?
Most musical web of ordered intervals framed
by symmetry, division, multiples — most melancholy
joy: Ten parallel horizons zenithed
toward always, thirty-two limiting longitudes:
A language, a form, a key. God, Johann: When in thrall
a pianist's hands arch intimate
to make the passage — to touch
your immortal body — it is as if the finite, bound,
has unwound when your now becomes now anew,
now mine. As if thresholds allowed recrossing: Forever
to be content, a soul at home, with a life like art
more puzzle than plan, more flight than counterweight,
the perfect grid of abiding piers upon which you
superimpose the moving force
of brilliant ephemera ...
Variation 1: Yhwh
Explode from the cauldron dark,
that's what I'd do for them: That in mind into self
and other I divided. In and in I overlapped in density
and where I was gravid I breathed their breaths.
With my body like a brine spiraling I stirred
the silence till it echoed apart from me, and where I
was deafened I hummed their frequencies.
From a floating ground I fired rounds of clouds
flaming and where they burned I brewed the rutilated
light till it refracted in the wells between comets rocketing.
In and in through the ancient rooms I fell and where
there were thresholds I left them canyons gorgeous
and aggrieved. Flung wide, electrified, I striated skies
with ellipsis, color, collapse, shot suns past
eclipse, blew the air for sound to sound
from touch, touched them till they cried in ecstacy:
Out and out and through the skin my sweat
ran and poured into hollows so where I emptied
they filled and though I encompassed
they merely contained. Into the molten cavity I
dropped a stone, I lit the furnace, stretched a hide.
I wielded the ragged white-veined ice and birthed
spinning galaxies in atoms, vital alluvium, the eternal
quest for me. I remembered and made them
forget. I raged and sweetened them. Formless then
I dimensioned space, delineated them. I swallowed
my own throat to feed them hungers delicious.
Where I could not pass I corridored their heavens.
Where I felt nothing I caused them passion and urge.
I watch them and they are blind to me.
I lie awake, and they dream.
I cry out to them, and they die.
Variation 2: Interval
If in the temporal world
of the measure
of plenitude that spans
the vast interstice
hanging in the balance
between the invocation
and the prayer — O
holiest interval — there
were no mercy and God
the invention said yes
I'm here you rang
why tarry Say
yes yes I am ready
Death is for being
done
with finitude:
If in the temporal plenitude
the measured world hung
...
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Paperback. Zustand: Good. Winner: 12th New Hampshire Literary Award, Poetry In this series of poems responding to Johann Sebastian Bach's spectacular "Goldberg Variations," New Hampshire State Poet Laureate Alice B. Fogel has paid homage to a 274-year-old masterpiece and, with the theme of spirit and embodiment that music--and life itself--evoke, has rendered from it a luminous new interpretation. Bach created the Goldbergs' 32 sections using nearly all the styles of western European music at the time; Fogel responds in kind with a range of contemporary poetic styles, including narrative, lyric, and experimental, all confined within the 32-line structure she has borrowed from the composer's 32-bar format. Interval mimics the "baroque" effects of overlapping melodies and harmonies by layering sound, syntax, and sense in multiple voices exploring self, identity, and being. In capturing the essence of this iconic masterpiece, through these poems Fogel has created her own music. Artikel-Nr. 00099305536
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Taschenbuch. Zustand: Neu. Neuware - Winner: >In this series of poems responding to Johann Sebastian Bach's spectacular 'Goldberg Variations,' New Hampshire State Poet Laureate Alice B. Fogel has paid homage to a 274-year-old masterpiece and, with the theme of spirit and embodiment that music--and life itself--evoke, has rendered from it a luminous new interpretation. Bach created the Goldbergs' 32 sections using nearly all the styles of western European music at the time; Fogel responds in kind with a range of contemporary poetic styles, including narrative, lyric, and experimental, all confined within the 32-line structure she has borrowed from the composer's 32-bar format. Interval mimics the 'baroque' effects of overlapping melodies and harmonies by layering sound, syntax, and sense in multiple voices exploring self, identity, and being. In capturing the essence of this iconic masterpiece, through these poems Fogel has created her own music. Artikel-Nr. 9781936182725
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Zustand: New. Über den AutorAlice B. Fogel is the poet laureate of New Hampshire and author of three previous poetry collections, most recently Be That Empty, a National Poetry Foundation bestseller, and the acclaimed guide to reading and appreci. Artikel-Nr. 905863987
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