Join Books.org — it's free

Book cover of On Love
American Poetry, Love Poetry

On Love

by Edward Hirsch
Available on Bookshop Write a review

Books.org participates in affiliate programs including Bookshop.org and the Amazon Services LLC Associates Program. We may earn a commission from qualifying purchases made through links on this page, at no additional cost to you.

Log in to track your reading progress.

Overview

"Life has to have the plenitude of art," Edward Hirsch affirms in his fifth volume of poems, On Love, which further establishes him as a major artist. From its opening epigraph by Thomas Hardy and an initiating prayer for transformation, On Love takes up the subjects of separateness and fusion, autonomy and blur. The initial progression of fifteen shapely and passionate lyrics (including a sonnet about the poet at seven, a villanelle about the loneliness of a pioneer woman on the prairie, and an elegy for Amy Clampitt) opens out into a sequence of meditations about love. These arresting love poems are spoken by a gallery of historical figures from Denis Diderot, Heinrich Heine, Charles Baudelaire, and Ralph Waldo Emerson to Gertrude Stein, Federico Garcia Lorca, Zora Neale Hurston, and Colette. Each anatomizes a different aspect of eros in poems uttered by a chorus of historical authorities that is also a lone lover's yearning voice. Personal, literary, On Love offers the most formally adept and moving poetry by the author Harold Bloom hails as utterly fresh, canonical, and necessary.

Synopsis

"Life has to have the plenitude of art," Edward Hirsch affirms in his fifth volume of poems, On Love, which further establishes him as a major artist. From its opening epigraph by Thomas Hardy and an initiating prayer for transformation, On Love takes up the subjects of separateness and fusion, autonomy and blur. The initial progression of fifteen shapely and passionate lyrics (including a sonnet about the poet at seven, a villanelle about the loneliness of a pioneer woman on the prairie, and an elegy for Amy Clampitt) opens out into a sequence of meditations about love. These arresting love poems are spoken by a gallery of historical figures from Denis Diderot, Heinrich Heine, Charles Baudelaire, and Ralph Waldo Emerson to Gertrude Stein, Federico Garcia Lorca, Zora Neale Hurston, and Colette. Each anatomizes a different aspect of eros in poems uttered by a chorus of historical authorities that is also a lone lover's yearning voice. Personal, literary, On Love offers the most formally adept and moving poetry by the author Harold Bloom hails as utterly fresh, canonical, and necessary.

James Pollock

The celebrated poet Edward Hirsch has written an ambitious new book of poems, and one certain to arouse controversy. . . . Readers who prize sincerity in poetry may be outraged, but for the open-minded these poems can be both moving and deliciously witty. . . For such readers On Love is highly recommended. -- Biblio Magazine

About the Author, Edward Hirsch

Edward Hirsch was born in Chicago in 1950 and educated at Grinnell College and the University of Pennsylvania. His first book of poems, For the Sleepwalkers (1981), received the Lavan Younger Poets Award from the Academy of American Poets and the Delmore Schwartz Memorial Award from New York University. His second book of poems, Wild Gratitude (1986), received the National Book Critics Circle Award. His third, The Night Parade (1989), and his fourth, Earthly Measures (1994), were both listed as notable books of the year by the New York Times Book Review. He writes frequently for leading magazines and periodicals--among them American Poetry Review, DoubleTake, where he is editorial advisor in poetry, and The Paris Review--and he has received a National Endowment for the Arts Fellowship, an Ingram Merrill Award, a Guggenheim Fellowship, and the Rome Prize from the American Academy and Institute of Arts and Letters. He teaches at the University of Houston.

Reviews

There are no reviews yet. Log in to write one.

Editorials

From Barnes & Noble

Narrated by a chorus of historical figures including Ralph Waldo Emerson, Gertrude Stein, Federico GarcΓ­a Lorca, Zora Neale Hurston, and Colette, each of these arresting love poems anatomizes a different aspect of eros.

James Pollock

The celebrated poet Edward Hirsch has written an ambitious new book of poems, and one certain to arouse controversy. . . . Readers who prize sincerity in poetry may be outraged, but for the open-minded these poems can be both moving and deliciously witty. . . For such readers On Love is highly recommended. -- Biblio Magazine

Publishers Weekly

Hirsch writes a controlled, precise, formally ambitious verse reminiscent of the new critical concoctions of a young Richard Wilbur or Anthony Hecht. Reading this fifth collection (which follows 1994's Earthly Measures), one is always aware of a formidable intelligence, wide reading, and an ambition to connect the poet's own achievement with the great poetry of the past. The defects of Hirsch's style, however, are brought out equally clearly by his decision to focus nearly every poem on the title theme, a subject that demands at least as much passion as craft. The poems in the first section of the book are personal, their main themes being the poet's childhood, his Jewishness, and his marriage. Here Hirsch sees love as a longing for transcendence: "Touching your body/ I was like a rabbi poring/ over a treatise on ecstasy, the message hidden in the scrolls." In the second half, a sequence that provides the book's title, Hirsch is impersonal: each poem addresses the subject of love in the voice of a famous writerStein, Lawrence and Wilde, among others. It is a highly artificial premise, made more so by the incredibly strict forms: the poems are mainly modified sestinas, in which words are often rhymed with themselves (often to the detriment of both sense and rhythm). Unfortunately, these poems are too much pastiche and puppet show; Hirsch doesn't inhabit his speakers so much as employ the most basic clichs about them. Thus in "Bertolt Brecht," we encounter the phrases "free love," "Karl Marx," and "means of production"; in "Denis Diderot," we find "Rational Will," "encyclopedia," and "enlightening." Hirsch's conceit is an interesting one, familiar from his other books (including the NBCC Award-winning Wild Gratitude), but here it fails to get beyond the level of mere device. (June)

Library Journal

This is Hirsch's fifth published volume of poetry, which follows an impressive series of grants and awards: the Lavan Younger Poets Award, the Delmore Schwartz Memorial Award, the National Book Critics Circle Award, a National Endowment for the Arts Fellowship, an Ingram Merrill Award, a Guggenheim Fellowship, and the Rome Prize from the American Academy and Institute of Arts and Letters. On Love lives up to Hirsch's growing reputation as a major American poet. Actually, this book is a dual enterprise. The untitled first section contains a number of moving personal revelations not necessarily touching on love, such as "Blue Hydrangea" (a blossom serving as a metaphor for recovery) or "Hotel Window" (taxi cabs on an urban street serving as an allegory of death), but the second section, "On Love" proper, is a series of "love poems" rendered through a variety of personas: Diderot, Heine, Baudelaire, Meredith Brecht, and others. The effects are often stunning in their complex evocations of the adopted voices as well as Hirsch's own insight. For all poetry collections.--Thomas F. Merrill, emeritus, Univ. of Delaware, Newark

Kirkus Reviews

The fifth book by this Univ. of Houston professor still finds him groping for subject and style and, in this case, coming up with easy forms to match an equally facile, schoolboyish scheme: to imagine what 20 or so writers from the past have to say about love. Hirsch has indulged such sentimentality in previous volumes, and here the scholarly patina barely disguises the comic- book sense of literary history in which artists are reduced to a series of textbook clichβ€šs: Diderot mentions reason, enlightenment, and encyclopedias; Heine refers to himself as a 'cripple' and 'a formidable intellect' of his time; Baudelaire links pain to pleasure; Wilde identifies himself as a 'strolling peacock;' and Brecht provides a Marxist gloss on romance. In one of the few poems that sounds a bit like its author (Gertrude Stein), Hirsch has her sum up improbably: 'all of us are astonished by love.' In poems not from this workshop-like sequence, Hirsch pays homage to all the right poets'Dickinson, Hart Crane, Whitman'but there's not the slightest anxiety from these influences, nor is there any depth to his equation of sex and religion. His pop gnosticism leaves him touched by angels, but not by the demands of craft: monotonous forms, which rely on repeated lines or end-words, drone on. Hirsch's true muse, unstated, seems to be McCartney and Lennon, who told us with much less to-do: 'all you need is love.'

Book Details

Published
January 1, 2000
Publisher
Knopf Doubleday Publishing Group
Pages
96
Format
Paperback
ISBN
9780375702600

More by Edward Hirsch

Similar books