The first appearance of this award-winning writer's work since the 1940s, this collection, which includes an introduction by John Ashbery, restores Joan Murray's striking poetry to its originally intended form.
Joan Murray (1917-1942) was born during an air raid in London. She was the daughter of Stanley Webster Murray, a painter and illustrator, and Florence Margaret Murray, a diseuse. She spent her early years in London, Paris, and Ontario, and lived most of her short life in the United States, where she studied dance and theater, and poetry with W. H. Auden at the New School. She suffered from rheumatic fever as a child, the complications of which led to a chronic heart condition and eventually to her death. John Ashbery is the author of several books of poetry, including Self-Portrait in a Convex Mirror (1975), which received the Pulitzer Prize for Poetry, the National Book Critics Circle Award, and the National Book Award. His first collection, Some Trees (1956), was selected by W. H. Auden for the Yale Younger Poets Series. He has also published art criticism, plays, and a novel. From 1990 until 2008 Ashbery was the Charles P. Stevenson, Jr. Professor of Languages and Literature at Bard College. His most recent collection of poems, Commotion of the Birds, was published in October 2016. Farnoosh Fathi is the author of the poetry collection Great Guns and founder of the Young Artists Language & Devotion Alliance (YALDA). She teaches at the Stanford Pre-Collegiate Summer Institutes and lives in New York.
"In a letter to novelist Helen Anderson, a resolute Joan Murray wrote, 'I would rather be mad and bad, erratic and incomprehensible, than vulnerably acquiescent to the drab.' Note how the adjectives in her sentence point to the era's stereotypes about women's writing. Luckily for us, every single line in this darkly luminous book proves them to be unwarranted. Murray's poems, wise beyond her years, startle the mind in their brave embrace of dissonance." --M nica de la Torre "Had Joan Murray lived beyond her twenty-fifth birthday we'd already know her as a major voice in American poetry, instead of one whose name appears only in lists of the lost. Farnoosh Fathi's fascinating restoration of Murray's work reinstates some of the poet's deepest idiosyncrasies, and supplements the contents of the original lone volume with a hearty assortment of previously unpublished fragments and drafts. It arrives as a thrill, vivid with Murray's irrepressible 'mountain of energy' and chewy with its 'own personal loud music.'" --Shanna Compton "Up from the archives come poems that will make you feel you're just learning to read: if vibration is your vocabulary, if unbelonging is your kind of charisma, if you have ever wanted to be a 'minnow-silver rain' or to fuck an ocean, if you're prepared for an empathy so direct that you'd be right to call it otherworldly, Joan Murray is your poet." --Christine Hume "Murray's book seems to me a startling achievement for a poet who died at an even younger age than Keats, a month short of her twenty-fifth birthday.... The improbable poetic adventures her Poems offers have slipped into oblivion, like Eurydice, almost without a ripple." --Mark Ford, Poetry