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Poet Michael Casey |
In 1972, Michael Casey won the Yale Younger Poets Prize for
Obscenities, a collection of poems drawn from his military experience during the Vietnam
War. In his foreword to the book, judge Stanley Kunitz called the work
“a kind of anti-poetry that befits a kind of war empty of any kind of
glory” and “the first significant book of poems written by an American
to spring from the war in Vietnam.” Its raw depictions of war’s
mundanity and obscenity resonated with a broad audience, and
Obscenities went into a mass market paperback edition, and was stocked in drugstores as well as bookstores. In the decades since, Casey’s
poetry has continued to document the places of his work and life. Then
and now, his poems foreground the voices around him over that of a
single author; they are the words of young American conscripts and their
Vietnamese counterparts, coworkers and bosses, neighbors and strangers.
His compressed sketches and unadorned monologues have appeared in
The New York Times,
The Nation, and
Rolling Stone.
There It Is: New and Selected Poems presents, for the first time, a full tour through Casey’s work, from his 1972 debut to 2011’s
Check Points, together with new and uncollected work from the late 60s on. Here are all the locations of Casey’s life and work—Lowell to Landing Zone, dye house to desk—and an ensemble cast with a lot to say.
The publication of Michael Casey's
New and Selected Poems, with his quirky portraits of ordinary
Americans, is an event to celebrate. Like a photographer snapping
pictures relentlessly, he must have written a poem about everyone he
ever met with dead-on realism. Compared to him, the Spoon River
Anthology is a work for kiddies. If Robert Frost was a poet of the rural
New Englander, Michael Casey, also a New
Englander, brings to life his mill town background, the guys who didn't
go on to college and the larger world, but married the girls they dated
in high school and got jobs in the mill. When he's sent to Vietnam he
captures his fellow soldiers in their own military jargon. A master of
the vernacular, he forces one to question writing in the 'correct'
language when so many of us speak it quite differently, the language we
think and feel in. Rare among poets, he's willing to explore colloquial
speech in all its messiness, and gets it down perfectly – in fact, he's
got us all down spot on. This collection, with its wide range of voices,
is a unique achievement.”
— Edward Field, author of
The Man Who Would Marry Susan Sontag and
After the Fall: Poems Old and New