This Incandescence: Poems
(eBook)

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Published
Farrar, Straus and Giroux, 2023.
Format
eBook
ISBN
9780374607999
Status
Available Online

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Language
English

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Citations

APA Citation, 7th Edition (style guide)

Hannah Sullivan., & Hannah Sullivan|AUTHOR. (2023). This Incandescence: Poems . Farrar, Straus and Giroux.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Hannah Sullivan and Hannah Sullivan|AUTHOR. 2023. This Incandescence: Poems. Farrar, Straus and Giroux.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Hannah Sullivan and Hannah Sullivan|AUTHOR. This Incandescence: Poems Farrar, Straus and Giroux, 2023.

MLA Citation, 9th Edition (style guide)

Hannah Sullivan, and Hannah Sullivan|AUTHOR. This Incandescence: Poems Farrar, Straus and Giroux, 2023.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID3ad62c20-65c2-3458-8ed0-ccbd49cb889a-eng
Full titlethis incandescence
Authorsullivan hannah
Grouping Categorybook
Last Update2024-05-14 23:01:43PM
Last Indexed2024-06-01 00:31:06AM

Book Cover Information

Image Sourcehoopla
First LoadedMay 4, 2024
Last UsedJun 6, 2024

Hoopla Extract Information

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    [synopsis] => A hybrid new collection from the author of Three Poems-about London, terror, new motherhood, the Grenfell Tower fire, and how we live now.

Hannah Sullivan's first collection, Three Poems, won the T. S. Eliot Prize and the inaugural John Pollard International Poetry Prize. Was It for This continues that book's project, offering a trenchant exploration of the ways in which we attempt to map our lives in space and time.

But there is also the wider, collective experience to contend with, the upheaval of historic event and present disaster. "Tenants," the first poem, is an elegy for Grenfell, written from the uneasy perspective of a new mother living a few streets away. Elsewhere, from the terraces and precincts of seventies and eighties London to the late-at-night decks of American suburbs, intimately inhabited geographies provide reference points and sites for revisiting.

Nothing is too small or unlovely to be transfixed by the poet's attention, from the thin concrete pillars of a flyover to an elderly peacock's broken train. There is a memorializing strain in the forensic accumulation of detail, but there is also celebration, a keen sense of holding on to and cherishing what we can.
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