"Surely, all art is the result of one's having been in danger, of having gone through an experience all the way to the end," said Rilke. A Carnage in the Lovetrees begins at the moment the speaker reaches this realization. He resolves then to rebuild a world caught in the crosshairs of repeated annihilation, regrounding love as the only viable stratagem for survival. Richard Greenfield’s sequence of poems searches for a way to live in the aftermath of private trauma and public disaster. It represents a struggle to reconcile the historical with the present and to find a language that allows the speaker to endure past calamities. These relentless, acrobatic, and self-aware poems resist settling for easy solutions, or even closure, but instead push toward the difficult compromise of the livable.

A Carnage in the Lovetrees: Poems (New California Poetry)

Literature & Fiction

Greenfield, Richard

Poetry

University of California Press

"Surely, all art is the result of one's having been in danger, of having gone through an experience all the way to the end," said Rilke. A Carnage in the Lovetrees begins at the moment the speaker reaches this realization. He resolves then to rebuild a world caught in the crosshairs of repeated annihilation, regrounding love as the only viable stratagem for survival. Richard Greenfield’s sequence of poems searches for a way to live in the aftermath of private trauma and public disaster. It represents a struggle to reconcile the historical with the present and to find a language that allows the speaker to endure past calamities. These relentless, acrobatic, and self-aware poems resist settling for easy solutions, or even closure, but instead push toward the difficult compromise of the livable.

A Carnage in the Lovetrees (New California Poetry)

History & Criticism

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Education & Teaching

Richmond, Keith

Schools & Teaching

Routledge

The elegies that comprise Richard Greenfield’s third book of poems, Subterranean, open the rhetoric of the form in new ways, creating a site of grieving that transcends a focus on the death of the father. Though lyrical, these elegies juxtapose the collapse of hyper-economies against the collapse of ecosystems, exploring the overlap, or edge effect, of liminal encounters between the living and the dead, between the city and the wilderness, between the human and the animal, and between the haves and the have nots. Greenfield creates a sequence of associative, anxious, rambling, and digressive meditations bridging these harrowing divides and exposing the loneliness of grief and empty promise of connection in the age of late capitalism. Greenfield asks, “Do you want to call someone?” The human voice, transmitted through the cell phone, becomes a spectral voice and streams “up from the basin to the peak and its antenna and striates and sieves through solid structures to arrive in the spiral of the ear of anyone.

Subterranean

Omnidawn

Beyond speaking of possession and dominance, which so often come cloaked in the placating language of stewardship; beyond speaking as merely an observer of the destruction wreaked upon the natural and social environments of this planet―Richard Greenfield's TRACER brings us back to our senses. In an examination of the savage, and savagely beautiful particularity of our existence, this is equally and essentially a poetry that respects, even as it implicates, the mystery and peril of speaking through one's own limited frame. A word might at one moment allude to the 'tracer' who exposes an image's delicate outline and then, at the next, to the 'tracer' rounds that lethally illuminate a target in the dark. These lyric poems are deeply ethical and austerely honest in their implication of, and reflections upon, the limits of morality and honesty. Nonetheless, this is also a poetry that seeks to emancipate the voice of witness from the generalities of despair through its exacting engagement with this world.

Tracer