Editorial Reviews. About the Author. Camille Norton is Associate Professor of English at the Corruption: Poems (National Poetry Series) by [Norton, Camille] .
Table of contents
E.G. Crichton
Denizens by Ronald Perry. Folly River by Wendy Salinger. Silks by Roberta Spear. Gumbo by George Barlow. In Winter by Michael Ryan. Leaving Taos by Robert Peterson. Accidental Weather by Sherod Santos. Hugging the Jukebox by Naomi Shihab Nye. The Incognito Lounge by Denis Johnson.
National Poetry Series
The Mud Actor by Cyrus Cassells. From the Abandoned Cities by Donald Revell. Going On by Joanne Kyger. The greater leisures The National poetry series by Jane Miller. Junk City by Barbara Anderson. Poems by Marie Howe. Black Wings by Len Roberts. Poems by Thylias Moss. Poems by Mark Levine.
How long would it hold its breath in defiance of her? She decided to make a study of it, of breath that originates in the mind. Inside the starry shadows are two kinds of breath: There is the breath one masters. And the breath one is mastered by.
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But which was the breath that would master the poem? And how would she know it when it arrived? Would be a minstrel breath out of Kansas, climbing out of her fiddle? If she could breathe, the poem would go to heaven the way a girl on a swing heaves away from the earth with a force.
When it came finally, the breath was sweet and dry as the desert in spring. The poem sounded like shush, shush, shush. I think it has a deep, deep truth about what might be fundamentally true about the self. When I think about it, it is very odd.
In some ways I am almost coming back to Christianity and the notion of a suffering Christ seems to represent something that speaks to me as an icon. I mean not that I am a Christian in any conventional sense, but I can really understand why it speaks so powerfully, because the suffering is embraced. It is embraced in a different way. And when you wrote this book, you where embracing both the sadness and the pleasure, so something in addition to Buddhism was working for you.
I think that is why I like Italian art so much. This is what Italian art tells me—and what Western music tells me: And the music, the sculpture. I mean it is really something. In Corruption you have a number of poems that are ekphrastic. I was on my sabbatical and I was invited to give some lectures in Florence, Italy on Western poetry.
It was my first time in Italy and I was spellbound.
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I found that it was a moment in my life that I had started to really clear the way for these poems. I was living in a loft and commuting and the art allowed me to think through certain problems. That is what poetry is for me. Being able to look like that, again and again and again, to try and discover what it was that I was feeling.
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I was so hit by it with this sense of grief, for the emptiness—the lack of the human body in this kind of perfect architectural drawing. But I felt so much sadness. Emptiness is both positive and frightening.
I started by just looking really hard at something, kind of trusting an intuitive response and trying to put my words to it. So that was the process. It was just too scary. It is not this strictly confessional kind of poetry, but there is something in there that is true. That is more obvious in some poems than others. And it just came. I thought the book was finished.
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I was at an art colony and poems were just pouring through and that one came through and that was the poem that really pulled this book together for me. Well I was reading about Caravaggio. I got M, the Man who became Caravaggio, a fantastic biography and I just took out all of these books about his painting. I had seen some Caravaggio in Italy and I really thought and thought about him. It was a pretty amazing life that he had: I looked at his paintings and it just came—the first poem—about John, the first person I was ever in love with: He was such a scoundrel.