Cheating at Canasta

Winner of the 2012 National Book Award for Poetry.

To read David Ferry’s Bewilderment is to be reminded that poetry of the highest order can be made by the subtlest of means. The passionate nature and originality of Ferry’s prosodic daring works astonishing transformations that take your breath away. In poem after poem, his diction modulates beautifully between plainspoken high eloquence and colloquial vigor, making his distinctive speech one of the most interesting and ravishing achievements of the past half century. Ferry has fully realized both the potential for vocal expressiveness in his phrasing and the way his phrasing plays against—and with—his genius for metrical variation. His vocal phrasing thus becomes an amazingly flexible instrument of psychological and spiritual inquiry. Most poets write inside a very narrow range of experience and feeling, whether in free or metered verse. But Ferry’s use of meter tends to enhance the colloquial nature of his writing, while giving him access to an immense variety of feeling. Sometimes that feeling is so powerful it’s like witnessing a volcanologist taking measurements in the midst of an eruption.     

From Bewilderment:

October

The day was hot, and entirely breathless, so
The remarkably quiet remarkably steady leaf fall
Seemed as if it had no cause at all.

The ticking sound of falling leaves was like
The ticking sound of gentle rainfall as
They gently fell on leaves already fallen,

Or as, when as they passed them in their falling,
Now and again it happened that one of them touched
One or another leaf as yet not falling,

Still clinging to the idea of being summer:
As if the leaves that were falling, but not the day,
Had read, and understood, the calendar.

When his estranged daughter Sarah comes to him with a request he cannot refuse, Moe Prager takes a deep breath and plunges back into the icy, opaque waters of secrets and lies.

In the work that has been judged the finest of his later novels, (printed here in Bennett's corrected version) Arnold Bennett gives us an unfogettable portrait of a miser and his wife. Henry Earlforward is a second-hand bookseller with a passion for money. He marries Violet Arb, a widow with a fortune of her own, yet he is eaten up by fear and greed. Set against the dark forces of avarice is the Earlford's maid, Elsie, whose love of life, generosity of spirit and warm humanity give Riceyman Steps a fine balance between hopelessness and optimism.

'I closed the book at seven in the morning after the shortest sleepless night of my experience ... there I had "Bennett triumphant" without any doubt whatsoever' - Joseph Conrad

There are no second acts for the dead . . . or are there?

For over twenty years, retired NYPD officer and PI Moe Prager, has been haunted by the secret that would eventually destroy his family. Now, two years after the fallout from the truth, more than secrets are haunting the Prager family. Moe Prager follows a trail of graverobbers from cemetery to cemetery, from ashes to ashes and back again in order to finally solve the enigma of his dead brother-in-law Patrick. He plunges deeper into the dark recesses of his past than ever before, revisiting all of his old cases, in order to uncover the twisted alchemy of vengeance and resurrection. Will Moe, at last, put his past to rest? Will he find the man who belongs in that vacant grave or will it remain empty, empty ever after?