By John Updike
John Updike's first selection of verse for the reason that his Collected Poems, 1953-1993 brings jointly fifty-eight poems, 3 of them of substantial length.
The 4 sections soak up, so as: the United States, its towns and airplanes; the poet's existence, his adolescence, birthdays, and diseases; international go back and forth, to Europe and the tropics; and, starting with the lengthy "Song of Myself," lifestyle, its furnishings and consolations.
There is little of the sunshine verse with which Mr. Updike started his writing profession approximately fifty years in the past, yet a gentle contact could be felt in his nimble manipulation of the ghosts of metric order, in his caressing of the dwelling textures of items, and in his reluctance to wave so long to all of it.
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Extra info for Americana and Other Poems
Rose and Harjo embody and exemplify these migratory relationships and so does N. Scott Momaday, who has long held the conviction that this dynamic is central to his identity as a Kiowa. Although Momaday imaginatively supports the Bering land bridge theory, he has written that ‘‘It is tempting to associate the hollow log [of Kiowa origin stories, through which Kiowa people migrated into this continent] with the passage to America, the peopling of the Americas, to find in it a metaphorical reflection of the land bridge’’ (‘‘Becoming of the Native,’’ 17).
He was born in Lawton, Oklahoma, and grew up in a variety of places: Navajo country, Jemez Pueblo, Santa Fe and Albuquerque, and Fort Defiance, Virginia. D. from Stanford University, he has held teaching positions in Santa Barbara, Berkeley, Palo Alto, and Tucson; he has exhibited his paintings in the United States, Switzerland, Germany, and elsewhere; he spent the spring semester of 1974 as visiting professor of American literature at the University of Moscow. All of this information is worth considering in the context of trans-world migrations in the creation stories Momaday returns to as well as in the interconnections, in his life and art, between routes and roots.
Already under way’’ (Yellow Woman, 122), and impossible to stop. She works toward disempowering the border, which ‘‘is fast becoming a militarized zone’’ (Yellow Woman, 107), and those who attempt to control this border; she participates in an intertribal political and cultural resistance that creatively links forms of prophecy, migration, and narrative. On Silko’s map Tucson, Arizona, is clearly a major convergence point, its name duly capitalized and printed in boldface. Tucson is a place people go from and (more frequently, in this novel) go to, but for some of those people, it lies north by northeast or east rather than southwest.