By John Hollander

“Perfection is a unprecedented accomplishment, rather in American poetry, and the perfection of a lot of Hollander’s paintings makes it crucial examining for a person who surely cares for the craft of poetry.  yet in our fallen global we look fated to price strength of perfection, and John Hollander’s poetry has proven a visionary energy simply usually adequate to safe him a spot as one of many significant figures of our moment.”
Vernon Shetley, The New Republic

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It'd be a manner of having to paintings. development A TOWER it's because of what one has now not found—a tan silo pushing up beside the gambrel roof of a stone barn; a sq., ruined tower, Frankish, stone, sponsored on a pine grove and overlooking the recent sand towards the calm blue water; a gloomy, shingled cupola examining the wild, grey sea; an unused wood water-tank atop a penthouse dealing with westward past the park; an out of date lighthouse close to the mouth of the bay—of what one has now not been in a position to adapt, that one has to construct. you can actually plan and plan for years, yet after all the completed constitution will regularly stay a little bit astounding: it's going to need to look, constantly, to were stumble upon, in a center distance, from a gloomy stroll, the wanderer enwrapped in his examine of the failing mild and what arises inside it. it's going to continually need to continue its personal far away visual appeal: at the same time one appears out, after years of protecting it, via one after one other of the windows—toward the fireplace of sundown, out around the midday fields, into the chilly rain dripping from naked boughs—there has to be not less than one window, even if slender, out of which it is easy to see what one seems towards the tower for. One has to be amid all that—dark books shadowing the inner partitions, vibrant vineyards mendacity towards the river outside—amid what has consistently been, and should be, past. instead of position firstly, the unique enclosure during which used to be our all over the place: it turned, once we needed to go away it, nowhere that used to be or used to be to not be. all of the areas we might have we might even have to take no longer as recompense, yet simply as photos which eternity can nurture. whether lets assemble all of them jointly, they wouldn't compose what was once much less simply photo; their designatum—the misplaced spot for which all our destinations stand—would cross on being simply what it's. As, for instance, pain—piercing, throbbing or flickering—is a trope for the information of that spot which lets no longer go away unplucked. good, then, to recapitulate: the earliest locations are all taken away—the brilliant morning seashore and the reddening overdue sand; the small stark sickroom; the caves within the merry rocks of youth, the upright piano that loomed excessive above; all of the Kinderscenen inscribed in Albums for the outdated. not anything is given again; it's only that every little thing follows, creating a type of substitute in time. the distance of those areas has long past away, leaving purely room for representations. The areas that keep on with, a long way ones and close to, short-term and time-honored, are themselves representations: of the misplaced areas? definite. of individuals? might be. Of ourselves? often. in order that in all places we visited, each sector in which we can have been acknowledged to stay, grew to become out in time to be bases we had needed to contact, acceptances of what the realm, madly gesturing as we moved approximately it, can have intended via its unagreed-upon signs. each valley used to be additionally an image of in different places we had now not but been to; each one monument we climbed to the head of went away and left room to be remembered, however the reminiscence might constantly refill one other house, the positioning of its past due blossoming.

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