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In a Few Minutes Before Later

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0 of 1 copy available
Wait time: About 2 weeks

Finalist for the Four Quartets Prize, given by Poetry Society of America, 2023

An iconoclastic ecopoet who has led the way for many young and emerging artists, Brenda Hillman continues to re-cast innovative poetic forms as instruments for tracking human and non-human experiences. At times the poet deploys short dialogues, meditations or trance techniques as means of rendering inner states; other times she uses narrative, documentary or scientific materials to record daily events during a time of pandemic, planetary crisis, political and racial turmoil. Hillman proposes that poetry offers courage even in times of existential peril; her work represents what is most necessary and fresh in American poetry.


During an enchantment in the life
Do you love a living person
absolutely? Tell them now.
In a half-unwieldy life you made, under
the hyaline sky, while the dead
drank from zigzag pools nearby,
if they saved you in your wild incapacities,
in timing of the world's harm
in a little pettiness in your own heart while others took
your madrigals in shreds to a tribunal,
when others said you should feel grateful
to be minimally adequate for the world's
triple exposure or some tired committee...
The ones who love us, how do they
break through our defenses?
We're tired today. Come back later.
Their baffled voices melting our wax walls
with a candle, the ones who understand
what being is—the glowing, the broken,
the wheels, the brave ones—
they have their courage,
you have yours,,,;
when you meet the one you love,
it is so rare. When you meet
the one who loves you, it is extremely rare.

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    • Library Journal

      October 7, 2022

      "Yet experience had gathered itself, dark-eyed," observes the Los Angeles Times Book Award--winning Hillman (Practical Water), whose latest poetry collection gathers meditations on time, nature, contemporary life, social justice, and "the ragged white moth of history" in one gorgeous stampede. These are all big poems, fully observed and richly packed with Hillman's customary linguistic brio. The opening section takes us through landscapes marked by owl calls and cellphones, where "even outdoors there's a stress/ you can't get out of"; one poem notes, "there was a feeling/ right before/ the feeling," a sentiment echoed in the title of a later poem that captures our desire to snag the ineffable--in poetry and in life. The fine poem "People's Emotions in One City Block" shifts wittily and insightfully through the lives of pedestrians in an urban park, while elsewhere Hillman assesses a time when "laws were not working so we went outside// after the shootings" and the anxiety behind the pointed question "How do you hope to survive?" Yet there's a visceral toughness here, a "going-on regardless"; and as Hillman muses, "sometimes I'm called an 'activist-poet, ' maybe to make my aesthetically odd poetry seem more relevant or marketable," it is clear she's not here to lecture or bemoan but to share. VERDICT Occasionally these poems feel full to overflowing, but Hillman's majestic new work belongs in most poetry collections.--Barbara Hoffert, Library Journal

      Copyright 2022 Library Journal, LLC Used with permission.

    • Publisher's Weekly

      Starred review from November 28, 2022
      Hillman (Extra Hidden Life, among the Days) wades provocatively into the strange times and stresses of contemporary human (and nonhuman) life. These poems turn their boundless attention on physical and interior landscapes to explore the relationship between experience and one’s capacity to reproduce thoughts and feelings in language. “(Dread can have/ a little fringe/ of whiteness but/ the predread has a roaming subcolor/ that can go toward joy plus a soft gray pleasure/ & the remaining context)” Hillman writes, interrogating the more subtle nuances and shades of stress. In the line, “mosses bunched , , , ,,, , , , ,,, , near the small oaks (did they fear stone?),” Hillman makes characteristically playful use of punctuation while speculating about the sentience of the natural world in a concrete manner. As in her previous collections, Hillman addresses her political activism, reflecting on the limits and powers of poetry in a world in which “capitalism will last longer than the bees.” Sprawling yet intimate, this generous collection showcases a singular poet at the height of her prowess.

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