With these dark, triumphant poems, Diane Seuss takes us on a journey through the landscape of the soul––and it's a world full of beauty and violence in equal parts. Relentless and incantatory, these poems are charged with an almost religious intensity as Seuss looks for God's presence in nature and sexuality. Again and again the poet confronts whatever it is that guides us through a life that is sensuous, yet exacting in its terrible cost. Nothing is solved by the end of this book, but much is gained as the quest itself has become a victory of perfectly pitched and furious language. God's still hidden away, but by now the natural world has evolved to replace the absence Seuss feels. In the book's erotically charged universe, one paradoxically begins to feel a calm settle over the burned-up panorama of the soul. It Blows You Hollow is a book, rare these days, that feels as if it had to be written. Diane Seuss goes for broke.

It Blows You Hollow (The New Issues Press Poetry Series)

Literature & Fiction

Seuss, Diane

Poetry

New Issues Poetry and Prose

Finalist for the Pulitzer Prize in Poetry
"Diane Seuss writes with the intensity of a soothsayer." ―Laura Kasischke
For, having imagined your body one way I found it to be another way, it was yielding, but only as the Destroying Angel mushroom yields, its softness allied with its poison, and your legs were not petals or tendrils as I'd believed, but brazen, the deviant tentacles beneath the underskirt of a secret queen ―from "Oh four-legged girl, it's either you or the ossuary"
In Diane Seuss's Four-Legged Girl, her audacious, hothouse language swerves into pain and rapture, as she recounts a life lived at the edges of containment. Ghostly, sexy, and plaintive, these poems skip to the tune of a jump rope, fill a wishing well with desire and other trinkets, and they remember past lush lives in New York City, in rural Michigan, and in love. In the final poem, she sings of the four-legged girl, the body made strange to itself and to others. This collection establishes Seuss's poetic voice, as rich and emotional as any in contemporary poetry.

Four-Legged Girl: Poems

Graywolf Press

Finalist for the National Book Critics Circle Award Finalist for the Los Angeles Times Book Prize Diane Seuss’s brilliant follow-up to Four-Legged Girl, a finalist for the Pulitzer Prize for Poetry
Still life with stack of bills phone cord cig butt and freezer-burned Dreamsicle Still life with Easter Bunny twenty caged minks and rusty meat grinder Still life with whiskey wooden leg two potpies and a dead parakeet Still life with pork rinds pickled peppers and the Book of Revelation Still life with feeding tube oxygen half-eaten raspberry Zinger Still life with convenience store pecking order shotgun blast to the face
―from “American Still Lives”
Still Life with Two Dead Peacocks and a Girl takes its title from Rembrandt’s painting, a dark emblem of femininity, violence, and the viewer’s own troubled gaze. In Diane Seuss’s new collection, the notion of the still life is shattered and Rembrandt’s painting is presented across the book in pieces―details that hide more than they reveal until they’re assembled into a whole. With invention and irreverence, these poems escape gilded frames and overturn traditional representations of gender, class, and luxury. Instead, Seuss invites in the alienated, the washed-up, the ugly, and the freakish―the overlooked many of us who might more often stand in a Walmart parking lot than before the canvases of Pollock, O’Keeffe, and Rothko. Rendered with precision and profound empathy, this extraordinary gallery of lives in shards shows us that “our memories are local, acute, and unrelenting.”

Still Life with Two Dead Peacocks and a Girl: Poems

Diane Seuss's poems grow out of the fertile soil of southwest Michigan, bursting any and all stereotypes of the Midwest and turning loose characters worthy of Faulkner in their obsession, their suffering, their dramas of love and sex and death. The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation. With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension― state lines, lakes' edges, the space "between the m and the e in the word amen." From what she calls "this place inbetween" come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be "the same music played on the same instrument." Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. "We receive beauty," Seuss writes, "as a nail receives / the hammer blow." This is the poetry that comes only after the white dress has been blown open―the poetry of necessity, where a wild imagination is the only hope.

Wolf Lake, White Gown Blown Open: Poems (Juniper Prize for Poetry)

United States

University of Massachusetts Press

A resplendent life in sonnets from the author ofFour-Legged Girl, a finalist for the Pulitzer Prize "The sonnet, like poverty, teaches you what you can do / without," Diane Seuss writes in this brilliant, candid work, her most personal collection to date. These poems tell the story of a life at risk of spilling over the edge of the page, from Seuss's working-class childhood in rural Michigan to the dangerous allures of New York City and back again. With sheer virtuosity, Seuss moves nimbly across thought and time, poetry and punk, AIDS and addiction, Christ and motherhood, showing uswhat we can do, what we can do without, and what we offer to one another when we have nothing left to spare. Like a series of cels on a filmstrip,frank: sonnets captures the magnitude of a life lived honestly, a restless search for some kind of "beauty or relief." Seuss is at the height of her powers, devastatingly astute, austere, and--in a word--frank.

frank: sonnets

Graywolf

Modern Poetry: Poems

Diane Seuss's signature voice--audacious in its honesty, virtuosic in its artistry, outsider in its attitude--has become one of the most original in contemporary poetry. Her latest collection takes its title, Modern Poetry, from the first textbook Seuss encountered as a child and the first poetry course she took in college, as an enrapt but ill-equipped student, one who felt poetry was beyond her reach. Many of the poems make use of the forms and terms of musical and poetic craft--ballad, fugue, aria, refrain, coda--and contend with the works of writers overrepresented in textbooks and anthologies and those too often underrepresented. Seuss provides a moving account of her picaresque years and their uncertainties, and in the process, she enters the realm between Modernism and Romanticism, between romance and objectivity, with Keats as ghost, lover, and interlocutor. In poems of rangy curiosity, sharp humor, and illuminating self-scrutiny, Modern Poetry investigates our time's deep isolation and divisiveness and asks: What can poetry be now? Do poems still have the capacity to mean? "It seems wrong / to curl now within the confines / of a poem," Seuss writes. "You can't hide / from what you made / inside what you made." What she finds there, finally, is a surprising but unmistakable love.

Braving the Body

Addonizio, Kim

Bass, Ellen

Bang, Mary Jo

Cuello, Jessica

Russell Agodon, Kelli

Kook, Hyejung

Small Harbor Publishing

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