“What a superb poet she is, and what a range of original sensibility, what private music, in the less well-worn emotions.”
St. Matthew Passion
by Gjertrud Schnackenberg
From one of the most lauded poets of her generation comes a major new work. Winner of the International Griffin Prize, the Rome Prize, the LA Times Book Prize, Guggenheim and NEA fellowships, among many other awards, Gjertrud Schnackenberg has always put her technical mastery at the service of a sublime vision. In St. Matthew Passion, the poet recounts a speaker’s experience of listening to Bach’s masterwork and discovering in it a portal to another world, shimmering with mystery. The poet takes the reader with her, crossing over into the music: I need a heart of bronze for hearing this, / And not the lost wax melting off / Beneath a molten pour of sound / When, out of love, / A solo flute appears. The result is a thrilling chef d’oeuvre deserving of a place alongside Eliot’s Ash Wednesday.
THIS BOOK IS AVAILABLE FOR PRE-ORDER UNTIL OCTOBER 15th, 2024.
If you pre-order now, books may arrive up to two weeks before the date above!
Gjertrud Schnackenberg
Gjertrud Schnackenberg was born in Tacoma, Washington, in 1953. Her awards include fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Rome Prize in Literature from the American Academy and Institute of Arts and Letters, the American Academy in Berlin, the Radcliffe Institute for Advanced Study at Harvard University, and an Award in Literature from the American Academy of Arts and Letters. The Throne of Labdacus received the 2001 Los Angeles Times Book Prize in Poetry, and Heavenly Questions received the 2011 Griffin International Prize for Poetry.
PRAISE FOR SCHNACKENBERG
For Supernatural Love (2000, FSG):
“A visionary encounter with ‘the source of poetry.’”
—Rosanna Warren
“Profound, sweeping, emotional...One thinks of Blake’s insight, ‘Eternity is in love with the productions of time.’”
—Stephen Yenser
For Heavenly Questions (2011, FSG):
“There is no one in her generation to equal Schnackenberg’s control of the blank-verse line, nor to match her technical abilities...”
—Cynthia Zarin
“...the most powerful elegy written in English by a poet in recent memory, and it is a triumphant consummation of Schnackenberg’s own work.”
—Karl Kirchwey
