Bøker av Gustaf Sobin

The poems in Gustaf Sobin's newest collection, Breaths' Burials, establish a dialogue with silence. Breath, its syllables buried in the resonant space between the word and the void, unlocks "the gloriole, the ring of things released." Whether Sobin is writing about irises, Venetian architecture, or the wind-blown plateaus of his adopted Provence, his poems are not more nor less than a search in the redemptive, celebrating the regeneration of language out of itself. Breaths' Burials once again confirms the praise of Robert Duncan, who described Sobin's work as "a poetry of great distinction, awakening the spirit to a world of errant clarifies renewed."

Gustaf Sobin's Voyaging Portraits is the newest collection by the American poet and longtime resident of Provence. The voice of these poems is the voyager, moving across a landscape that is both physical and existential, and the portraits it continually casts hover at the precarious limits of language. The book is laid out in five sections. "Of Neither Wind nor Anemones," set in the Mediterranean basin, introduces the work's major theme: the poem's quest for its own hidden imagery across the shifting ground of the evocable. "Against a Bleached Viridian," located in the hills of Provence (with its suns, moons, snails, pathways, its vineyards and orchards), depicts a nature menaced by asphyxia. "A Portrait of the Self as Instrument of Its Syllables" traces the author's early years in self-elected exile. "Along America's Edges" extends to the metaphoric rim of North America. The locale of the conclusion, "Of the Four-winged Cherubim as Signature," is Italy, among the accumulated layers of Western culture.

Out of the pungent soil and wind-struck orchards of Provence, this enchanting love story will make you believe, if you ever doubted it, in the power of love and the lengths people will go to keep it alive.

Philippe Cabassac has fly-truffled every winter since childhood on his family estate. Since the death of his young wife Julieta, however, the truffles come to represent far more than a delicacy for his palette. They trigger now a series of dream visions in which he and his lost wife communicate.

This text explores the landscapes of Provence and Languedoc, drawing on prehistory, protohistory and Gallo-Roman antiquity, focusing on a place or artifact. Archival curiosities invite inquiry and speculation: artefacts are read as realia, and history as an uninterrupted sequence of object lessons.

Bits of late Roman coinage, the mutilated torso of a marble Venus, blue debris from an early medieval glassworks, and the powder rasped from the reputed tomb of Mary Magdalene-these tantalizing mementos of human history found scattered throughout the landscape of southeastern France are the points of departure for Gustaf Sobin's lyrical narrative. A companion volume to his acclaimed Luminous Debris, Ladder of Shadows picks up where the former left off: with late antiquity, covering a period from roughly the third to the thirteenth century. Here Sobin offers brilliant readings of late Roman and early Christian ruins in his adopted region of Provence, sifting through iconographic, architectural, and sacramental vestiges to shed light on nothing less than the existential itself.

Drawing on the life of Greta Garbo, Gustaf Sobin spins a masterful tale about the enigmatic nature of idolatry.