Late Summer Ode - Kalytiak Davis, Olena
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"The balance of rigidity, rhyme and ruin . . . makes an Olena Kalytiak Davis poem extraordinarily distinct. Even when she’s alluding to Dante and Rilke and Chekhov, her voice is like no one else’s.”—New York Times, Editors Choice In Late Summer Ode, Olena Kalytiak Davis writes from a heightened state of ambivalence, perched between past and present tensions. With Chekovian humor and metered pathos, from a garden in Anchorage not pining for Brooklyn, these poems “self -protest, -process, -recede.” Davis is a conductor of sound and meaning, precise to the syllable: a commanding talent in contemporary poetry.…mehr

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Produktbeschreibung
"The balance of rigidity, rhyme and ruin . . . makes an Olena Kalytiak Davis poem extraordinarily distinct. Even when she’s alluding to Dante and Rilke and Chekhov, her voice is like no one else’s.”—New York Times, Editors Choice In Late Summer Ode, Olena Kalytiak Davis writes from a heightened state of ambivalence, perched between past and present tensions. With Chekovian humor and metered pathos, from a garden in Anchorage not pining for Brooklyn, these poems “self -protest, -process, -recede.” Davis is a conductor of sound and meaning, precise to the syllable: a commanding talent in contemporary poetry.
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Autorenporträt
A first-generation Ukrainian American, Olena Kalytiak Davis grew up in Detroit and was educated at Wayne State University, the University of Michigan Law School, and Vermont College. Davis’s poetry collections include And Her Soul Out of Nothing (1997), selected by Rita Dove for the Brittingham Prize in Poetry, Shattered Sonnets, Love Cards, and Other Off and Back Handed Importunities (2003), On the Kitchen Table from Which Everything Has Been Hastily Removed (2009), and The Poem She Didn’t Write and Other Poems (2014). Her approach to motherhood, intimacy, and small moments in life through sonnets and free verse captivates audiences and draws emotions with simple yet personal usage of words and language. Critic Dan Chiasson referred to Davis as “the rare poet who has made underproduction an aspect of her glamour.”