Dorianne Laux

The narrative poems in Dorianne Laux's fifth collection charge through the summer of love, where Vietnam casts a long shadow, and into the present day, where she compassionately paints the smoky bars, graffiti, and addiction of urban life. Laux is "continually engaging and, at her best, luminous" (San Diego Union-Tribune). from "To Kiss Frank," make out with him a bit, this is what my friend would like to do oh these too many dead summers later, and as much as I want to stroll with her into the poet's hazy fancy all I can see is O'Hara's long gone lips fallen free of the bone, slumbering beneath the grainy soil.

In her powerful fourth collection, poet Dorianne Laux once again strikes fire from neighborhood moments: a quiet street at dusk, a pool hall, a bare tree. Focusing on the grace of working people, she captures the pain and beauty of women in all their variety, caught in the "lunar pull" of our time.

Finalist, 1994 National Book Critics Circle Award for Poetry. Dorianne Laux's poetry is a poetry of risk; it goes to the very edge of extinction to find the hard facts that need to be sung. What We Carry includes poems of survival, poems of healing, poems of affirmation, and poems of celebration.

Dorianne Laux’s long-awaited third book of poetry follows her collection, What We Carry , a finalist for the 1994 National Book Critics Circle Award for Poetry. In Smoke , Laux revisits familiar themes of family, working class lives and the pleasures of the body in poetry that is vital and artfully crafted—poetry that "gets hard in the face of aloofness," in the words of one reviewer. In Smoke , as in her previous work, Laux weaves the warp and woof of ordinary lives into extraordinary and complex tapestries. In "The Shipfitter’s Wife," a woman recalls her husband’s homecoming at the end of his work Then I’d open his clothes and take the whole day inside me—the ship’s gray sides, the miles of copper pipe, the voice of the foreman clanging off the hull’s silver ribs. Spark of lead kissing metal. The clamp, the winch, the white fire of the torch, the whistle, and the long drive home. And in the title poem, Laux muses on her own guilty Who would want to give it up, the coal a cat’s eye in the dark room, no one there but you and your smoke, the window cracked to street sounds, the distant cries of living things. Alone, you are almost safe . . . With her keen ear and attentive eye, Dorianne Laux offers us a universe with which we are familiar, but gives it to us fresh. Dorianne Laux is the author of two previous collections of poetry from BOA Editions, Ltd., and is co-author, with Kim Addonizio, of The Poet’s A Guide to the Joys of Writing Poetry (W.W. Norton, 1997), chosen as an alternate selection by several bookclubs. Laux was the judge for the 2012 A. Poulin, Jr. Poetry Contest, and is a tenured professor in the creative writing program at the University of Oregon. Laux lives in Eugene, Oregon.

Only as the Day Is Long represents a brilliant, daring body of work from one of our boldest contemporary poets, known to bear compassionate and ruthless witness to the quotidian. Drawn from Dorianne Laux’s five expansive volumes, including her confident debut Awake, National Book Critics Circle Finalist What We Carry, and Paterson Prize–winning The Book of Men, the poems in this collection have been "brought to the hard edge of meaning" (B. H. Fairchild) and praised for their "enormous precision and beauty" (Philip Levine). Twenty new odes pay homage to Laux’s mother, an ordinary and extraordinary woman of the Depression era. The wealth of her life experience finds expression in Laux’s earthy and lyrical depictions of working-class America, full of the dirt and mess of real life. From the opening poem, "Two Pictures of My Sister," to the last, "Letter to My Dead Mother," she writes, in her words, of "living gristle" with a perceptive frankness that is luminous in its specificity and universal in its appeal. Exploring experiences of survival and healing, of sexual love and celebration, Only as the Day Is Long shows Laux at the height of her powers.

An illuminating book of concise craft essays and exercises for poets, from Pulitzer Prize finalist and The Poet’s Companion coauthor Dorianne Laux. From “a poet of immense insight and masterful craft” (Kwame Dawes), Finger Exercises for Poets is an engaging invitation to practice poetry alongside one of its masters. With wide-ranging examples from classic and contemporary poets, Dorianne Laux demystifies the magic of language that makes great poetry and offers generative exercises to harness that magic. She explores the syllable and the line, the use of form, poetic responses to contemporary events and personal experiences, the imaginative leap, and the power of a distinct voice. Throughout, Laux reminds us that poetry is a practice as much as an art, and that poets must hone their language as a musician practicing an instrument. An encouraging, accessible master class in reading and writing poetry, including more than fifty original prompts, Finger Exercises for Poets offers a trove of wisdom and inspiration for both experienced and aspiring poets.