The Afterlife of Objects by Dan Chiasson

The Afterlife of Objects

byDan Chiasson

Paperback | October 15, 2002

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Both intensely personal and deeply rooted in recognizable events of personal, familial, or national significance, The Afterlife of Objects is a kind of dreamed autobiography. With poise and skill, Dan Chiasson divulges the enigmas of the mind of not just one individual but of an entire social world through a beautifully constructed poetic voice that issues from a kind of mythic childhood of our collective, tortured humanity. This sophisticated debut collection offers deceptively simple poems that evoke highly complex states of mind with a voice that has long been listening to the discordant music of contemporary life.

About The Author

Dan Chiasson is an assistant professor of English at the State University of New York at Stony Brook. His poems have appeared in magazines such as Paris Review, Ploughshares Slate, Threepenny Review, and Partisian Review. He was named "Debut Poet" by the New Yorker in 2001.
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Details & Specs

Title:The Afterlife of ObjectsFormat:PaperbackDimensions:64 pages, 8.5 × 6.13 × 0.4 inPublished:October 15, 2002Publisher:University Of Chicago PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0226103781

ISBN - 13:9780226103785

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Extra Content

Table of Contents

I
Nocturne
Your Stone
Vermont
"The Sensible Present Has Duration"
Boston
"The Anatomy of Melancholy"
Paul 1:13
Dactyls after Driving through Nevada
Io
Song for a Play
"The Glass Slipper"
Self
II
My Ravine
Poem
Ward
". . . and yet the end must be as 'tis"
Visit
Anonymous Bust of a Man, c. 100 A.D. (Cyprus)
Deer
One
III
Cicada
Stealing from Your Mother
Spade
Blueprint
Purple Blouse
Matter
A Salt Dish
The Afterlife of Objects
IV
Peach Tree
Coda
After Ovid
Mechanical Wall, 1982
Dream of the End of Reading
Leverett Circle
Self-Storage
Aubade
Orange Tree
Notes

Editorial Reviews

“Chiasson is a poet of dazzling intellectual resources and unmatched sophistication. His temperament is rapacious, wily; his ear quick; his range of reference memorable, in part for the casual ease of its uses. . . . [He] is uniquely a poet for whom hiddenness is a profound psychic truth, a poet for whom guardedness corresponds to rather than precludes inwardness.”