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Pierce the Skin: Selected Poems, 1982-2007

by Henri Cole
Hardcover |English |0374232830 | 9780374232832

Pierce the Skin: Selected Poems, 1982-2007

by Henri Cole
Hardcover |English |0374232830 | 9780374232832
Overview
FromPublishers Weekly “Cole has been called a ‘major poet’ by no less an authority than Harold Bloom, and his work has been consistently lauded throughout his closely watched career. This […] selection from Cole’s six previous books offers the first bird’s-eye view of Cole’s body of work, and it will most likely leave readers wanting more. Cole is nothing if not constantly intense on the page—his verse is always melancholy, but also carries a kind of religious weight, as if sadness itself were a ticket out of Hell. Cole is unafraid to embarrass himself (‘After the death of my father,’ begins one poem, ‘I locked// myself in my room, bored and animallike’) if it will lead him to his particular brand of skinned clarity, as when, at the end of the same poem, he seeks his father in ‘a little room in which glowing cigarettes// came and went, like souls losing magnitude,// but none with the battered hand I knew.’ In Cole’s poems, the stakes are always impossibly high, and every insight is deeply costly. But perhaps that’s the price for being able to say, ‘I can feel my heart beating inside my heart.’” (starred review) From theCleveland Plain Dealer"Ordinary things are like symbols," says Henri Cole in a poem called "Self Portrait With Hornets."Cole's list of favorite ordinary things includes hornets, characters from the literary classics and most frequently, horses, in which he finds equivalencies for his inner life, which is tortured by the knowledge that inner and outer worlds remain separate, no matter the precision and sturdiness of the symbols used to bridge them."I don't want words to sever me from reality," he says, lamenting the insufficiency of the poet's best tool. Cole's poems are always tragic, always frustrated, but awake to the fleeting moments when something transcendent appears to happen.Born in Fukuoka, Japan, in 1956, Cole grew up in Virginia and teaches at Ohio State University. His career has been closely watched -- the pre-eminent critic and scholar Harold Bloom has called Cole a major poet."Pierce the Skin" looks back at Cole's six previous books, beginning in 1986 with "The Marble Queen" and ending with his most recent book, "Blackbird and Wolf." His themes have been consistent: the wish for transcendence through nature; desire, mostly between men; and the weight of loneliness.Cole's early poems are rife with lavish descriptions: A poem about butterflies observes "This puddle club of monarchs, weary and peaceful." But it's in his most recent books -- composed mostly of 14 line poems of riveting intensity -- that he truly becomes himself.Take, for instance, early and late poems about horses. "The Mare" comes from Cole's debut, and "Horses" was first published in 1998's "The Visible Man," the book in which the mature Cole first emerges. Both poems feature speakers who powerfully identify with horses.In "The Mare," Cole comes upon a dying horse "spent and bruised like the falling apples." "She lay there like a mummy," he writes, "like the wreckage of an ancient queen,/ mild, yet locked away within herself." In this creature, Cole finds a version of himself, "locked away," and, to mark his identification, he "walked among the goats . . . and fed them apples/ so mellow/ they burst like hearts before the queen and me."A decade later, in "Horses," it's not merely an image of himself he wants. This poem aches with clear desperation to get out of his body and mind and into another, freer life. It begins: "I came upon the horses/ drenched in bright sunshine,/ yard after yard of blue-black ironed silk," Next to these animals, Cole finds himself hopelessly awkward: "I felt lazy and vicious watching them,/ with my large joints and big head."Then something magical happens, the kind of magical thing that only happens in a poem: Cole wishes himself into a horse, while at the same time expressing a kind of unrestrained sexual desire he seems only able to get at this way: "If only the barbarous horsemen/ could leadusdown the path, unestranged." The poem concludes "how I yearned for my neck to be brushed!"Cole is, of course, not a horse, but he has inhabited his wish to transcend himself as fully as he can, which may be as close to escaping the self as one can get.His most recent poems bring this intensity to a kind of muted fever pitch, in which tragedy is almost redeemed by beauty, as in "Dead Wren": "When I open your little gothic wings/ on my whitewashed chests of drawers,/ I almost fear you, as if today were my funeral."This is not poetry for the faint of heart, or for anyone wishing for a merely inspiring read; it is heartbreaking and purifying as only great poetry can be.--Craig Morgan Teicher "The more closely one listens to him and absorbs his sense of connection between all living things in their desires, including not only flora and fauna but his own poetic forebears, the more harmonious his sonatas of passion and pain sound."--Phoebe Pettigell,The New Leader
ISBN: 0374232830
ISBN13: 9780374232832
Author: Henri Cole
Publisher: Farrar, Straus and Giroux
Format: Hardcover
PublicationDate: 2010-03-02
Language: English
PageCount: 160
Dimensions: 5.5 x 0.5 x 8.5 inches
Weight: 10.72 ounces
FromPublishers Weekly “Cole has been called a ‘major poet’ by no less an authority than Harold Bloom, and his work has been consistently lauded throughout his closely watched career. This […] selection from Cole’s six previous books offers the first bird’s-eye view of Cole’s body of work, and it will most likely leave readers wanting more. Cole is nothing if not constantly intense on the page—his verse is always melancholy, but also carries a kind of religious weight, as if sadness itself were a ticket out of Hell. Cole is unafraid to embarrass himself (‘After the death of my father,’ begins one poem, ‘I locked// myself in my room, bored and animallike’) if it will lead him to his particular brand of skinned clarity, as when, at the end of the same poem, he seeks his father in ‘a little room in which glowing cigarettes// came and went, like souls losing magnitude,// but none with the battered hand I knew.’ In Cole’s poems, the stakes are always impossibly high, and every insight is deeply costly. But perhaps that’s the price for being able to say, ‘I can feel my heart beating inside my heart.’” (starred review) From theCleveland Plain Dealer"Ordinary things are like symbols," says Henri Cole in a poem called "Self Portrait With Hornets."Cole's list of favorite ordinary things includes hornets, characters from the literary classics and most frequently, horses, in which he finds equivalencies for his inner life, which is tortured by the knowledge that inner and outer worlds remain separate, no matter the precision and sturdiness of the symbols used to bridge them."I don't want words to sever me from reality," he says, lamenting the insufficiency of the poet's best tool. Cole's poems are always tragic, always frustrated, but awake to the fleeting moments when something transcendent appears to happen.Born in Fukuoka, Japan, in 1956, Cole grew up in Virginia and teaches at Ohio State University. His career has been closely watched -- the pre-eminent critic and scholar Harold Bloom has called Cole a major poet."Pierce the Skin" looks back at Cole's six previous books, beginning in 1986 with "The Marble Queen" and ending with his most recent book, "Blackbird and Wolf." His themes have been consistent: the wish for transcendence through nature; desire, mostly between men; and the weight of loneliness.Cole's early poems are rife with lavish descriptions: A poem about butterflies observes "This puddle club of monarchs, weary and peaceful." But it's in his most recent books -- composed mostly of 14 line poems of riveting intensity -- that he truly becomes himself.Take, for instance, early and late poems about horses. "The Mare" comes from Cole's debut, and "Horses" was first published in 1998's "The Visible Man," the book in which the mature Cole first emerges. Both poems feature speakers who powerfully identify with horses.In "The Mare," Cole comes upon a dying horse "spent and bruised like the falling apples." "She lay there like a mummy," he writes, "like the wreckage of an ancient queen,/ mild, yet locked away within herself." In this creature, Cole finds a version of himself, "locked away," and, to mark his identification, he "walked among the goats . . . and fed them apples/ so mellow/ they burst like hearts before the queen and me."A decade later, in "Horses," it's not merely an image of himself he wants. This poem aches with clear desperation to get out of his body and mind and into another, freer life. It begins: "I came upon the horses/ drenched in bright sunshine,/ yard after yard of blue-black ironed silk," Next to these animals, Cole finds himself hopelessly awkward: "I felt lazy and vicious watching them,/ with my large joints and big head."Then something magical happens, the kind of magical thing that only happens in a poem: Cole wishes himself into a horse, while at the same time expressing a kind of unrestrained sexual desire he seems only able to get at this way: "If only the barbarous horsemen/ could leadusdown the path, unestranged." The poem concludes "how I yearned for my neck to be brushed!"Cole is, of course, not a horse, but he has inhabited his wish to transcend himself as fully as he can, which may be as close to escaping the self as one can get.His most recent poems bring this intensity to a kind of muted fever pitch, in which tragedy is almost redeemed by beauty, as in "Dead Wren": "When I open your little gothic wings/ on my whitewashed chests of drawers,/ I almost fear you, as if today were my funeral."This is not poetry for the faint of heart, or for anyone wishing for a merely inspiring read; it is heartbreaking and purifying as only great poetry can be.--Craig Morgan Teicher "The more closely one listens to him and absorbs his sense of connection between all living things in their desires, including not only flora and fauna but his own poetic forebears, the more harmonious his sonatas of passion and pain sound."--Phoebe Pettigell,The New Leader

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Overview
FromPublishers Weekly “Cole has been called a ‘major poet’ by no less an authority than Harold Bloom, and his work has been consistently lauded throughout his closely watched career. This […] selection from Cole’s six previous books offers the first bird’s-eye view of Cole’s body of work, and it will most likely leave readers wanting more. Cole is nothing if not constantly intense on the page—his verse is always melancholy, but also carries a kind of religious weight, as if sadness itself were a ticket out of Hell. Cole is unafraid to embarrass himself (‘After the death of my father,’ begins one poem, ‘I locked// myself in my room, bored and animallike’) if it will lead him to his particular brand of skinned clarity, as when, at the end of the same poem, he seeks his father in ‘a little room in which glowing cigarettes// came and went, like souls losing magnitude,// but none with the battered hand I knew.’ In Cole’s poems, the stakes are always impossibly high, and every insight is deeply costly. But perhaps that’s the price for being able to say, ‘I can feel my heart beating inside my heart.’” (starred review) From theCleveland Plain Dealer"Ordinary things are like symbols," says Henri Cole in a poem called "Self Portrait With Hornets."Cole's list of favorite ordinary things includes hornets, characters from the literary classics and most frequently, horses, in which he finds equivalencies for his inner life, which is tortured by the knowledge that inner and outer worlds remain separate, no matter the precision and sturdiness of the symbols used to bridge them."I don't want words to sever me from reality," he says, lamenting the insufficiency of the poet's best tool. Cole's poems are always tragic, always frustrated, but awake to the fleeting moments when something transcendent appears to happen.Born in Fukuoka, Japan, in 1956, Cole grew up in Virginia and teaches at Ohio State University. His career has been closely watched -- the pre-eminent critic and scholar Harold Bloom has called Cole a major poet."Pierce the Skin" looks back at Cole's six previous books, beginning in 1986 with "The Marble Queen" and ending with his most recent book, "Blackbird and Wolf." His themes have been consistent: the wish for transcendence through nature; desire, mostly between men; and the weight of loneliness.Cole's early poems are rife with lavish descriptions: A poem about butterflies observes "This puddle club of monarchs, weary and peaceful." But it's in his most recent books -- composed mostly of 14 line poems of riveting intensity -- that he truly becomes himself.Take, for instance, early and late poems about horses. "The Mare" comes from Cole's debut, and "Horses" was first published in 1998's "The Visible Man," the book in which the mature Cole first emerges. Both poems feature speakers who powerfully identify with horses.In "The Mare," Cole comes upon a dying horse "spent and bruised like the falling apples." "She lay there like a mummy," he writes, "like the wreckage of an ancient queen,/ mild, yet locked away within herself." In this creature, Cole finds a version of himself, "locked away," and, to mark his identification, he "walked among the goats . . . and fed them apples/ so mellow/ they burst like hearts before the queen and me."A decade later, in "Horses," it's not merely an image of himself he wants. This poem aches with clear desperation to get out of his body and mind and into another, freer life. It begins: "I came upon the horses/ drenched in bright sunshine,/ yard after yard of blue-black ironed silk," Next to these animals, Cole finds himself hopelessly awkward: "I felt lazy and vicious watching them,/ with my large joints and big head."Then something magical happens, the kind of magical thing that only happens in a poem: Cole wishes himself into a horse, while at the same time expressing a kind of unrestrained sexual desire he seems only able to get at this way: "If only the barbarous horsemen/ could leadusdown the path, unestranged." The poem concludes "how I yearned for my neck to be brushed!"Cole is, of course, not a horse, but he has inhabited his wish to transcend himself as fully as he can, which may be as close to escaping the self as one can get.His most recent poems bring this intensity to a kind of muted fever pitch, in which tragedy is almost redeemed by beauty, as in "Dead Wren": "When I open your little gothic wings/ on my whitewashed chests of drawers,/ I almost fear you, as if today were my funeral."This is not poetry for the faint of heart, or for anyone wishing for a merely inspiring read; it is heartbreaking and purifying as only great poetry can be.--Craig Morgan Teicher "The more closely one listens to him and absorbs his sense of connection between all living things in their desires, including not only flora and fauna but his own poetic forebears, the more harmonious his sonatas of passion and pain sound."--Phoebe Pettigell,The New Leader
ISBN: 0374232830
ISBN13: 9780374232832
Author: Henri Cole
Publisher: Farrar, Straus and Giroux
Format: Hardcover
PublicationDate: 2010-03-02
Language: English
PageCount: 160
Dimensions: 5.5 x 0.5 x 8.5 inches
Weight: 10.72 ounces
FromPublishers Weekly “Cole has been called a ‘major poet’ by no less an authority than Harold Bloom, and his work has been consistently lauded throughout his closely watched career. This […] selection from Cole’s six previous books offers the first bird’s-eye view of Cole’s body of work, and it will most likely leave readers wanting more. Cole is nothing if not constantly intense on the page—his verse is always melancholy, but also carries a kind of religious weight, as if sadness itself were a ticket out of Hell. Cole is unafraid to embarrass himself (‘After the death of my father,’ begins one poem, ‘I locked// myself in my room, bored and animallike’) if it will lead him to his particular brand of skinned clarity, as when, at the end of the same poem, he seeks his father in ‘a little room in which glowing cigarettes// came and went, like souls losing magnitude,// but none with the battered hand I knew.’ In Cole’s poems, the stakes are always impossibly high, and every insight is deeply costly. But perhaps that’s the price for being able to say, ‘I can feel my heart beating inside my heart.’” (starred review) From theCleveland Plain Dealer"Ordinary things are like symbols," says Henri Cole in a poem called "Self Portrait With Hornets."Cole's list of favorite ordinary things includes hornets, characters from the literary classics and most frequently, horses, in which he finds equivalencies for his inner life, which is tortured by the knowledge that inner and outer worlds remain separate, no matter the precision and sturdiness of the symbols used to bridge them."I don't want words to sever me from reality," he says, lamenting the insufficiency of the poet's best tool. Cole's poems are always tragic, always frustrated, but awake to the fleeting moments when something transcendent appears to happen.Born in Fukuoka, Japan, in 1956, Cole grew up in Virginia and teaches at Ohio State University. His career has been closely watched -- the pre-eminent critic and scholar Harold Bloom has called Cole a major poet."Pierce the Skin" looks back at Cole's six previous books, beginning in 1986 with "The Marble Queen" and ending with his most recent book, "Blackbird and Wolf." His themes have been consistent: the wish for transcendence through nature; desire, mostly between men; and the weight of loneliness.Cole's early poems are rife with lavish descriptions: A poem about butterflies observes "This puddle club of monarchs, weary and peaceful." But it's in his most recent books -- composed mostly of 14 line poems of riveting intensity -- that he truly becomes himself.Take, for instance, early and late poems about horses. "The Mare" comes from Cole's debut, and "Horses" was first published in 1998's "The Visible Man," the book in which the mature Cole first emerges. Both poems feature speakers who powerfully identify with horses.In "The Mare," Cole comes upon a dying horse "spent and bruised like the falling apples." "She lay there like a mummy," he writes, "like the wreckage of an ancient queen,/ mild, yet locked away within herself." In this creature, Cole finds a version of himself, "locked away," and, to mark his identification, he "walked among the goats . . . and fed them apples/ so mellow/ they burst like hearts before the queen and me."A decade later, in "Horses," it's not merely an image of himself he wants. This poem aches with clear desperation to get out of his body and mind and into another, freer life. It begins: "I came upon the horses/ drenched in bright sunshine,/ yard after yard of blue-black ironed silk," Next to these animals, Cole finds himself hopelessly awkward: "I felt lazy and vicious watching them,/ with my large joints and big head."Then something magical happens, the kind of magical thing that only happens in a poem: Cole wishes himself into a horse, while at the same time expressing a kind of unrestrained sexual desire he seems only able to get at this way: "If only the barbarous horsemen/ could leadusdown the path, unestranged." The poem concludes "how I yearned for my neck to be brushed!"Cole is, of course, not a horse, but he has inhabited his wish to transcend himself as fully as he can, which may be as close to escaping the self as one can get.His most recent poems bring this intensity to a kind of muted fever pitch, in which tragedy is almost redeemed by beauty, as in "Dead Wren": "When I open your little gothic wings/ on my whitewashed chests of drawers,/ I almost fear you, as if today were my funeral."This is not poetry for the faint of heart, or for anyone wishing for a merely inspiring read; it is heartbreaking and purifying as only great poetry can be.--Craig Morgan Teicher "The more closely one listens to him and absorbs his sense of connection between all living things in their desires, including not only flora and fauna but his own poetic forebears, the more harmonious his sonatas of passion and pain sound."--Phoebe Pettigell,The New Leader

Books - New and Used

The following guidelines apply to books:

  • New: A brand-new copy with cover and original protective wrapping intact. Books with markings of any kind on the cover or pages, books marked as "Bargain" or "Remainder," or with any other labels attached, may not be listed as New condition.
  • Used - Good: All pages and cover are intact (including the dust cover, if applicable). Spine may show signs of wear. Pages may include limited notes and highlighting. May include "From the library of" labels. Shrink wrap, dust covers, or boxed set case may be missing. Item may be missing bundled media.
  • Used - Acceptable: All pages and the cover are intact, but shrink wrap, dust covers, or boxed set case may be missing. Pages may include limited notes, highlighting, or minor water damage but the text is readable. Item may but the dust cover may be missing. Pages may include limited notes and highlighting, but the text cannot be obscured or unreadable.

Note: Some electronic material access codes are valid only for one user. For this reason, used books, including books listed in the Used – Like New condition, may not come with functional electronic material access codes.

Shipping Fees

  • Stevens Books offers FREE SHIPPING everywhere in the United States for ALL non-book orders, and $3.99 for each book.
  • Packages are shipped from Monday to Friday.
  • No additional fees and charges.

Delivery Times

The usual time for processing an order is 24 hours (1 business day), but may vary depending on the availability of products ordered. This period excludes delivery times, which depend on your geographic location.

Estimated delivery times:

  • Standard Shipping: 5-8 business days
  • Expedited Shipping: 3-5 business days

Shipping method varies depending on what is being shipped.  

Tracking
All orders are shipped with a tracking number. Once your order has left our warehouse, a confirmation e-mail with a tracking number will be sent to you. You will be able to track your package at all times. 

Damaged Parcel
If your package has been delivered in a PO Box, please note that we are not responsible for any damage that may result (consequences of extreme temperatures, theft, etc.). 

If you have any questions regarding shipping or want to know about the status of an order, please contact us or email to support@stevensbooks.com.

You may return most items within 30 days of delivery for a full refund.

To be eligible for a return, your item must be unused and in the same condition that you received it. It must also be in the original packaging.

Several types of goods are exempt from being returned. Perishable goods such as food, flowers, newspapers or magazines cannot be returned. We also do not accept products that are intimate or sanitary goods, hazardous materials, or flammable liquids or gases.

Additional non-returnable items:

  • Gift cards
  • Downloadable software products
  • Some health and personal care items

To complete your return, we require a tracking number, which shows the items which you already returned to us.
There are certain situations where only partial refunds are granted (if applicable)

  • Book with obvious signs of use
  • CD, DVD, VHS tape, software, video game, cassette tape, or vinyl record that has been opened
  • Any item not in its original condition, is damaged or missing parts for reasons not due to our error
  • Any item that is returned more than 30 days after delivery

Items returned to us as a result of our error will receive a full refund,some returns may be subject to a restocking fee of 7% of the total item price, please contact a customer care team member to see if your return is subject. Returns that arrived on time and were as described are subject to a restocking fee.

Items returned to us that were not the result of our error, including items returned to us due to an invalid or incomplete address, will be refunded the original item price less our standard restocking fees.

If the item is returned to us for any of the following reasons, a 15% restocking fee will be applied to your refund total and you will be asked to pay for return shipping:

  • Item(s) no longer needed or wanted.
  • Item(s) returned to us due to an invalid or incomplete address.
  • Item(s) returned to us that were not a result of our error.

You should expect to receive your refund within four weeks of giving your package to the return shipper, however, in many cases you will receive a refund more quickly. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days).

If you need to return an item, please Contact Us with your order number and details about the product you would like to return. We will respond quickly with instructions for how to return items from your order.


Shipping Cost


We'll pay the return shipping costs if the return is a result of our error (you received an incorrect or defective item, etc.). In other cases, you will be responsible for paying for your own shipping costs for returning your item. Shipping costs are non-refundable. If you receive a refund, the cost of return shipping will be deducted from your refund.

Depending on where you live, the time it may take for your exchanged product to reach you, may vary.

If you are shipping an item over $75, you should consider using a trackable shipping service or purchasing shipping insurance. We don’t guarantee that we will receive your returned item.

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