Encounter Books

While many famous writers – Balzac, Proust, Oscar Wilde – are buried at Paris’s Père Lachaise Cemetery, “there are also writers, many more of them in fact, buried there who have been completely forgotten, not necessarily because they were not good but because cultural memory is necessarily limited.”

In eight chapters, the inimitable Anthony Daniels dilates on some forgotten writers of Père Lachaise, exploring their literary merit and the amusing byways of history,  aiming “to entertain while illustrating the inexhaustible depth of our past.”

The Summer After is the winner of the twenty-fourth New Criterion Poetry Prize. 

In his debut poetry collection, The Nature of Things Fragile, Peter Vertacnik depicts a world fraught with vulnerability and loss. Utilizing a wide range of both received and nonce poetic forms, including sonnets, villanelles, triolets, a sestina, epigrams, blank verse, and word-count, he confronts the illnesses and deaths of loved ones, both recent and long past (“Face Value,” “Odd Elegy,” “Trace,”); the memories of old houses and towns left behind (“Departure,” Sugar Beets,” “Mourning Doves”); and the vanishing of once-ubiquitous analog particulars (“Apology to Candles,” “Dial Tone,” “In Praise of Blank Cassettes”). It is indeed a book of elegies, but one that also celebrates the people, places, and things it laments, preserving their names and details while laying them to rest. 

The Nature of Things Fragile is the winner of the twenty-third New Criterion Poetry Prize.

Openings & Outings brings together over forty pieces from the long and distinguished career of the writer and commentator David Pryce-Jones. Taking us from a meeting with Rudolf Hess’s widow, to the slums of Tangier, to the front lines of the Israeli–Palestinian conflict, with many stops in between, Openings & Outings presents over fifty years of insight, from a writer with endless scope and perspective.

Some Problems with Autobiography, Brian Brodeur’s fourth collection, grapples with the porous and fragmentary nature of midwestern American identity in poems that range across prosodic forms and hybrid genres. By turns self-mocking, meditative, and tragi-comic, this book explores the perils of digital technologies, ecological uncertainties, and the inadequacy of language to convey our collective distress, asking how much pleasure and hardship the human heart can bear. Brodeur’s narrative poems feature a dramatis personae rare in contemporary poetry, including a Syrian refugee enrolled in a writing workshop, the wife of an accused serial killer shopping defense lawyers, a horny psychoanalyst confessing a dream, and a carpenter working for the Department of Education during New York City’s first lockdown. From dramatic-monologue sonnets and narrative sestinas to discursive lyrics cast in Rubáiyát stanzas and Alcaic strophes, Some Problems with Autobiography brings ancient modes into startlingly contemporary contexts. 

Deeply learned, and with a style all his own, Marco Grassi is as at home with Duccio as he is with Norton Simon; Bronzino as with Bernard Berenson; a painting on his desk as with a Last Supper in Florence’s Basilica of Santa Croce. In the Kitchen of Art selects the art conservator and dealer’s most memorable contributions to The New Criterion over a span of nearly twenty years. Beginning with a previously unpublished memoir of his own Florentine upbringing, and continuing with in-depth critical discussions of the greats of Italian art along with recollections of the grandest collectors of the twentieth century, this book shows the art world in the round.

In Transit, Nicholas Pierce’s debut poetry collection, charts the poet’s maturation across three sections, each centering on a different kind of love, from the pedagogical to the romantic to the familial. Form and subject are inseparable in poems that consider the complex power dynamic of an older man befriending a younger one, that draw on such classic texts as Plato’s Symposium and Homer’s Odyssey to make sense of the seemingly random encounters and missed chances that, as one poem puts it, “make up a life.”

As the book’s title suggests, these poems take place on the move, in cars, on boats and planes. They find the speaker abroad, as in “The Death of Argos,” a sonnet sequence that invents a new configuration for the form. Above all, though, the poems of In Transit attempt to capture a world in flux, turning to form as a stay against the transitory nature of experience.