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Second Empire

ebook
1 of 1 copy available
1 of 1 copy available

"The delicate arc of these poems intimates—rather than tells—a love story: celebration, fear of loss, storm, abandonment, an opening forth. Richie Hofmann disciplines his natural elegance into the sterner recognitions that matter: 'I am a little white omnivore,' the speaker of Second Empire discovers. Mastering directness and indirection, Hofmann's poems break through their own beauty."—Rosanna Warren

This debut's spare, delicate poems explore ways we experience the afterlife of beauty while ornately examining lust, loss, and identity. Drawing upon traditions of amorous sonnets, these love-elegies desire an artistic and sexual connection to others—other times, other places—in order to understand aesthetic pleasures the speaker craves. Distant and formal, the poems feel both ancient and contemporary.

Antique Book

The sky was crazed with swallows.
We walked in the frozen grass
of your new city, I was gauzed with sleep.

Trees shook down their gaudy nests.
The ceramic pots were caparisoned with snow.
I was jealous of the river,

how the light broke it, of the skein
of windows where we saw ourselves.
Where we walked, the ice cracked

like an antique book, opening
and closing. The leaves
beneath it were the marbled pages.

Richie Hofmann is the winner of a Ruth Lilly Fellowship from the Poetry Foundation, and his poems have appeared or are forthcoming in the New Yorker, Poetry, the Kenyon Review, and Ploughshares. A graduate of the Johns Hopkins University MFA program, he is currently a Creative Writing Fellow in Poetry at Emory University.

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    • Publisher's Weekly

      October 19, 2015
      Through variations on the sonnet, Hofmann obsesses over what has been, in a debut collection that feels like a lost manuscript of early modernism, with its insecurities over lust and love and history, where emotion becomes an object to fear and respect. In a poem that uses the mating rituals of cranes to discuss the beauty and futility of lifelong monogamy, Hoffman reveals that “there is freedom/ in submitting to another.” And Hofmann submits to his project
      by bridging the mating birds with the writing of Hart Crane. Hofmann shares Crane’s formal tightness, sensuality of language, and obsession with love and history and how they relate to being modern. But to call him a mere Crane acolyte would diminish Hofmann’s talents. Crane was the romantic modernist who cared about the person within and perfected a mode of lush and unapologetically baroque writing that is mostly out of fashion today. Hofmann is relighting the torch that Crane extinguished when he committed suicide by leaping into the sea; he is taking the sexual longing that permeated Crane and laying it bare. Hofmann “wanted/ the alchemy of someone else/ to rise” in him, and it seems he may have found that someone.

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  • English

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