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Second language : poems / by Lisel Mueller

By:

Mueller, Lisel

Material type: Text

TextPublication details: Baton Rouge : Louisiana State University Press , 1986.Description: 72 p. ; 24 cmISBN:

0807113379

Subject(s):

Poetry, American

DDC classification:

811 MUE

LOC classification:

PS3563.U35 S4 1986

Summary: Mueller's fourth collection in two decades exhibits her continued interests in the imagination's tendency to extrapolate the extraordinary from the mundane. Her tools are the traditional, but lately discredited, techniques of simile, metaphor ("Hope is a fat seed pod''), apostrophe, and personification. She speaks to objects and invents lives for abstractions (the self "stops preserving its tears in amber''), unable to resist investing the world with her own generous sensibility. But so many poems are first-person meditations (even the frequent "you'' is an "I'' in disguise) that one feels one's attention repeatedly called to the poet's sensitivity rather than to the poem. In the strongest pieces, like "Necessities,'' the poet steps aside, allowing the most admirable facets of her talent to speak for themselves.

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Holdings
Item type	Current library	Call number	Status	Date due	Barcode
Libro - Monografía	Biblioteca Pública de San Miguel de Allende, A.C.	811 MUE (Browse shelf(Opens below))	Available		039137

Mueller's fourth collection in two decades exhibits her continued interests in the imagination's tendency to extrapolate the extraordinary from the mundane. Her tools are the traditional, but lately discredited, techniques of simile, metaphor ("Hope is a fat seed pod''), apostrophe, and personification. She speaks to objects and invents lives for abstractions (the self "stops preserving its tears in amber''), unable to resist investing the world with her own generous sensibility. But so many poems are first-person meditations (even the frequent "you'' is an "I'' in disguise) that one feels one's attention repeatedly called to the poet's sensitivity rather than to the poem. In the strongest pieces, like "Necessities,'' the poet steps aside, allowing the most admirable facets of her talent to speak for themselves.

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