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The Hundred Grasses: Poems, by Leila Wilson
Free PDF The Hundred Grasses: Poems, by Leila Wilson
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Wilson writes from the periphery of an open field in this extended investigation into longing and loss, love and doubt. As the poet muses, "we wonder / what we're not / in the field," and reading The Hundred Grasses, we are made to wonder as much about what exists within us as how we’re shaped by what we lack. For Wilson, the act of looking can animate what is seemingly static. Stillness becomes not absence but fullness. These poems shape sounds culled from the empty spaces they inhabit, giving sense to life's silences.
In the author’s words:
I am interested in locating my poems’ subjects within the midst of open space and exploring the tensions that arise from this positioning. I am drawn to the struggle between foreground and background, as well as the foggy median (or prohibitive hedge) that serves to locate my subjects’ thrust. My poems are rooted in the flatlands and lowlands: the Midwestern lawns, lakes, fields, and creeks of my childhood, and the Dutch farms, canals, and seascapes near my family's home in Holland. Much of my poetry focuses on those instances when a space exerts itself beyond recognition, when it seems to estrange itself so that it may be renegotiated. For me this is a process of embedding my examination in the musicality of language and paying close attention to the breath of a line.
- Sales Rank: #2934716 in eBooks
- Published on: 2013-03-18
- Released on: 2013-03-18
- Format: Kindle eBook
From Booklist
Wilson’s first book of poetry is an ode to and reflection on nature—how it works on us and we on it. Motifs of erosion, germination, decay, and migration highlight omnipresent cycles and connect to their human equivalents, as in “What Is the Field?,” when the opening stanza answers the titular question: “The field is filled / with what we see / without sleep. / Never completely / closed, it quickly erodes / when tilled before rain.” Wilson’s keen ear for rhythm and internal rhyme also sculpts poignant images in “Span”: “A warbler / as long as my thumb / draws cottonwood / around its song.” At times, however, her language overpowers, turning “Sail Dilation” code-like: “Always tending / toward, / first half / prolonged / of a yawn.” But careful readers will appreciate Wilson’s concise stanzas that not only build illuminating poetry but stand on their own, as in “Nether”: “We wait / for a balance so grand / that any flicker / of inverse could / pull us up to spires.” --Katharine Fronk
Review
"Wilson’s first book of poetry is an ode to and reflection on nature—how it works on us and we on it. Motifs of erosion, germination, decay, and migration highlight omnipresent cycles and connect to their human equivalents.... Careful readers will appreciate Wilson’s concise stanzas that not only build illuminating poetry but stand on their own.”
— Katharine Fronk, Booklist
From the Back Cover
Praise for The Hundred Grasses
“Leila Wilson’s beautiful and necessary debut occupies a ground too often thought unavailable, that rich field where Modernist precision overlaps with Romantic enthusiasm. These poems cut against the contemporary grain because they are so deeply of the actual grain— attending to seed and flower, to the germ in the furrow. Wilson finds within the agricultural that ceaseless call back toward life’s cultivation, and so these poems enter into what they also document: human kindness in the midst of the most basic of difficulties, of being a person among people, of attending to the ‘mingled yarn’ of lives in relation. The Hundred Grasses reminds us that our greatest ethical lessons are found in our deepest aesthetic pleasures, and to encounter beauty is also to learn, almost secretly, almost thoughtlessly, beauty’s varied lessons.”
—Dan Beachy-Quick
“The Hundred Grasses attends to haunted, sprawling, interior fields with American gothic intensity, and though firmly rooted in the material, these poems ‘hold / their doors toward / distance.’ Here, landscapes are emotional states as much as they are geographic ones, and a primordial wind blows through these poems. The music is elemental. Each stark poem is a testament to what Wilson says of tree branches: ‘They are best seen // bare in their / struggle.’ Here is bare struggle, singing.”
—Robyn Schiff
“Like Lorine Niedecker, Wilson knows intimacy with nature and humans through rhyme in its largest sense, and these companionate poems abound in patterns that ‘capture scatter’ and assert consonance and connectivity in a world of dissonance and dispersal. Formally compressed but expansive in spirit, rigorously built from precision and paradox, these brilliant poems fuse absence and presence in lines full of a feeling that has no opposite.”
—Brian Teare
Leila Wilson’s poems have appeared in Poetry, A Public Space, American Letters & Commentary, Denver Quarterly, Canary, and elsewhere. She lives in Chicago and is a former editor of Chicago Review. The Hundred Grasses is her first book.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Stirring and Beautiful
By C. Vale
"I thought I could/lean against death/longer. Wind wraps/poppies closed/so seeds won't scatter/all together. I don't know/what to do/with love/left over." - lovely. Truly moving.
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