WEBVTT 00:00:00.000 --> 00:00:02.610 align:middle line:90% Thank you. 00:00:02.610 --> 00:00:08.010 align:middle line:84% Keith Waldrop is the author of more than 20 books of poetry. 00:00:08.010 --> 00:00:11.790 align:middle line:84% Recent books are Transcendental Studies 00:00:11.790 --> 00:00:14.610 align:middle line:84% from University of California Press, which 00:00:14.610 --> 00:00:21.510 align:middle line:84% won the National Book Award, The Real Subject, and the trilogy, 00:00:21.510 --> 00:00:25.560 align:middle line:84% The Locality Principle, Silhouette of the Bridge, 00:00:25.560 --> 00:00:29.640 align:middle line:90% and Semiramis If I Remember. 00:00:29.640 --> 00:00:32.880 align:middle line:84% Siglio Press has also recently published 00:00:32.880 --> 00:00:39.810 align:middle line:84% a book of his amazing collages called Several Gravities. 00:00:39.810 --> 00:00:44.220 align:middle line:84% He's translated Baudelaire's Flowers of Evil and Paris 00:00:44.220 --> 00:00:49.290 align:middle line:84% Spleen, Little Poems in Prose from Wesleyan University Press, 00:00:49.290 --> 00:00:53.130 align:middle line:84% as well as books by contemporary French poets Anne-Marie 00:00:53.130 --> 00:00:58.320 align:middle line:84% Albiach, Claude Royet-Journoud, and many others. 00:00:58.320 --> 00:01:02.160 align:middle line:84% And he teaches at Brown University. 00:01:02.160 --> 00:01:06.480 align:middle line:84% In a very short space, Keith Waldrop's poems 00:01:06.480 --> 00:01:10.500 align:middle line:84% masterfully create an intimate address 00:01:10.500 --> 00:01:14.790 align:middle line:84% and also conjure allusions to that something missing, 00:01:14.790 --> 00:01:19.830 align:middle line:84% which completes any perfect, poetic dialogue or moving still 00:01:19.830 --> 00:01:20.850 align:middle line:90% life. 00:01:20.850 --> 00:01:25.560 align:middle line:84% He reminds us of that unmistakable third presence, 00:01:25.560 --> 00:01:30.090 align:middle line:84% reservation, misgiving, the intangible which 00:01:30.090 --> 00:01:32.610 align:middle line:90% no one else will visit kindly. 00:01:32.610 --> 00:01:37.140 align:middle line:84% Someone is absent, treading, dead, 00:01:37.140 --> 00:01:40.680 align:middle line:84% possibly it is us or the speaker. 00:01:40.680 --> 00:01:45.420 align:middle line:84% We are stealthily brought along to disquieting thoughts. 00:01:45.420 --> 00:01:48.780 align:middle line:84% With a fluidity, and an ease, and a wit one 00:01:48.780 --> 00:01:51.090 align:middle line:84% would never think possible, we are 00:01:51.090 --> 00:01:55.530 align:middle line:84% brought to concise meditations on mortality and philosophy 00:01:55.530 --> 00:02:00.090 align:middle line:84% to laments, lyrics, and metaphysical haunts. 00:02:00.090 --> 00:02:02.160 align:middle line:84% In reading his work, we are compelled 00:02:02.160 --> 00:02:04.590 align:middle line:90% to ask, what is stretched? 00:02:04.590 --> 00:02:06.540 align:middle line:90% What is stolen? 00:02:06.540 --> 00:02:08.669 align:middle line:90% What is distortion? 00:02:08.669 --> 00:02:10.590 align:middle line:90% What is real? 00:02:10.590 --> 00:02:13.140 align:middle line:84% Nothing more often than a voice which 00:02:13.140 --> 00:02:16.530 align:middle line:84% dictates something we wish to be true 00:02:16.530 --> 00:02:20.100 align:middle line:84% collapsed by something we know to be true, 00:02:20.100 --> 00:02:23.400 align:middle line:84% sifting through dangerous mental proclivities, 00:02:23.400 --> 00:02:27.210 align:middle line:84% always with reassurances, charm, nodding 00:02:27.210 --> 00:02:30.130 align:middle line:84% towards the disastrous consequences, 00:02:30.130 --> 00:02:34.270 align:middle line:84% and longing for that which remains unfound, 00:02:34.270 --> 00:02:36.280 align:middle line:84% where are the edges of perception? 00:02:36.280 --> 00:02:38.260 align:middle line:84% His voice, it meanders through thickets 00:02:38.260 --> 00:02:41.480 align:middle line:84% of time, the question as an anchor that 00:02:41.480 --> 00:02:45.190 align:middle line:90% undoes and also propels us. 00:02:45.190 --> 00:02:49.840 align:middle line:84% His work provides us always with excellent poetic company 00:02:49.840 --> 00:02:53.080 align:middle line:84% and humor amid the most tumultuous and brooding 00:02:53.080 --> 00:02:55.750 align:middle line:90% of human landscapes. 00:02:55.750 --> 00:02:59.485 align:middle line:84% In his newest book, he writes, "it 00:02:59.485 --> 00:03:03.190 align:middle line:84% is not in my power to give the reader 00:03:03.190 --> 00:03:06.070 align:middle line:90% any account of pleasure." 00:03:06.070 --> 00:03:10.660 align:middle line:84% With this, I strongly disagree, and instead, I will quote, 00:03:10.660 --> 00:03:14.980 align:middle line:84% "he is one of poetry's bold knights 00:03:14.980 --> 00:03:17.890 align:middle line:84% who've not their hearts in their boots." 00:03:17.890 --> 00:03:19.510 align:middle line:90% Please welcome Keith Waldrop. 00:03:19.510 --> 00:03:21.360 align:middle line:90% [APPLAUSE] 00:03:21.360 --> 00:03:27.000 align:middle line:90%