Over the past decade, Billy Collins has emerged as the most beloved American poet since Robert Frost, garnering critical acclaim and broad popular appeal. To celebrate his years as U.S. Poet Laureate, we are pleased to announce these special, limited editions, in hardcover, of the book that helped establish and secure his reputation during the 1990s. Collin's poetry has been described by Gerald Stern as "heartbreakingly beautiful." Annie Proulx admits, "I have never before felt possessive about a poet, but I am fiercely glad that Billy Collins is ours." John Updike proclaims of these poems: "consistently starling, more serious than they seem, they describe all the world that are and were and some others besides." Everyone has a favorite Collins poem, whether it is his resigned meditation on "Forgetfulness" (Questions About Angels, 1991), his affectinate riff on his mechanic's calendars in "Pinup" (The Art of Drowning, 1995), his delight in "Taking Off Emily Dickinson's Clothes" (Picnic, Lightning, 1998), or any number of others about his dog; listening to jazz, or wondering whether the "Three Blind Mice" suffer from a congenital condition or were all caught in a fireworks explosion. The Washington Post declares Collins to be in possession of "one of the richest imagination around." Whether reading him for the first time or the fiftieth time, these books are must-haves for anyone interested in the poet the New York Times calls simply "the real thing."
Billy Collins has a knack for making the familiar exotic and the arcane instantly accessible. His 1991 collection, Questions About Angels
, is a loving and often amused search for "the infinite / permutations of the alphabet's small and capital letters." This phrase comes from an ode to his first literary experience--and needless to say, Collins is more honest than most of us might be. Though he would later discover "frightening Heathcliff" and "frightened Pip," and even Adam and Eve, fiction for him began with another famous pair: Dick and Jane. Throughout this witty volume, he explores other heroes who have expanded his vistas--including Goya, Kafka, ancient mapmakers, Constable, and more than one lexicographer in hot pursuit of le mot juste
Somewhere in the rolling hills and farm country
that lie beyond speech
Noah Webster and his assistants are moving
across the landscape tracking down a new word.
Collins makes you remember your initial delight in metaphor and simile. In "The First Geniuses," for instance, he imagines an era before "the orchestra of history / has had time to warm up," before inventors and artists could quite suss out how to use their gifts:
They have yet to discover fire, much less invent the wheel,
so they wander a world mostly dark and motionless
wondering what to do with their wisdom
like young girls wonder what to do with their hair.
Though his world is heavily populated by painting and literature, several melancholy, cigarette-packed love poems make it clear that people have equal sway. Yet Collins is always intent on proving that art, too, is experience. In "Metamorphosis" he dreams of waking up as the 42nd Street branch of the New York Public Library. "I would feel the pages of books turning inside me like butterflies. / I would stare over Fifth Avenue with a perfectly straight face." No one should be surprised to discover that his wish was partly granted. In 1992, that institution named Collins--with a perfectly straight face?--a "Literary Lion." --Kerry Fried