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Sailing Alone Around the Room: New and Selected Poems, by Billy Collins
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"High, most encouraging tidings"--that is how Billy Collins, the widely read and widely acclaimed poet, describes the music in his poem about the gospel singing group The Sensational Nightingales. The same phrase applies, just as joyfully, to the arrival of Sailing Alone Around the Room, a landmark collection of new and selected poems by this Guggenheim Fellow, NPR contributor, New York Public Library "Literary Lion," and incomparably popular performer of his own good works.
From four earlier collections, which have secured for him a national reputation, Collins offers the lyric equivalent of an album of Greatest Hits. In "Forgetful-ness," memories of the contents of a novel "retire to the southern hemisphere of the brain, to a little fishing village where there are no phones." In "Osso Buco," a poem about gustatory pleasure, the "lion of content-ment" places a warm heavy paw on the poet's chest. In "Marginalia," he catalogs the scrawled comments of books' previous readers: " 'Absolutely,' they shout to Duns Scotus and James Baldwin. 'Yes.' 'Bull's-eye.' 'My man!' " And he also serves us a generous portion of new poems, including "Man Listening to Disc," a jazz trip with headphones, and "The Iron Bridge," a wildly speculative, moving elegy.
Whether old or new, these poems will catch their readers by exhilarating surprise. They may begin with irony and end in lyric transcendence. They may open with humor and close with grief. They may, and often do, begin with the everyday and end with infinity. Wise, funny, sad, stealthy, and always perfectly clear, these poems will not be departing for that little fishing village with no phones for a long, long time. Billy Collins, possessed of a unique lyric voice, is one of American poetry's most sensational nightingales.
- Sales Rank: #1188140 in Books
- Published on: 2001-09
- Released on: 2001-09-04
- Original language: English
- Number of items: 1
- Dimensions: 8.75" h x .70" w x 5.75" l, .70 pounds
- Binding: Hardcover
- 192 pages
Features
- ISBN13: 9780375503801
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From Publishers Weekly
This collection hit the front page of the New York Times its first time out of the blocks in 1999, as the University of Pittsburgh Press, Collins's longtime publisher, denied Random the rights to the poems as the poet tried to jump ship. The two houses and Collins's agent, Chris Calhoun (Dan Menaker is Collins's editor at Random), later worked out a deal that gave Pitt a few more months to ride Picnic, Lightning (1998) and Collins's other books without this culling treading on its sales. As it now appears, the book includes 23 poems from Picnic, more than from any of Collins's previous three books included here. (Work from the early Video Poems and Pokerface is absent.) Collins's poems are generally conveyed by a speaker whose genial, highly literate analogue of earnestness perfectly produces inchoate quotidian restlessness matched by fear-based appreciation of the mundane. A typical Collins poem begins with "How agreeable it is not to be touring Italy this summer," "The way the dog trots out the front door" or the observation that "It is possible to be struck by a meteor/ or a single-engine plane/ while reading in a chair at home" and continues by juxtaposing, say, close descriptions of "the instant hand of Death" and "the rasp of the steel edge/ against a round stone,/ the small plants singing/ with lifted faces." It's a formula that has worked well for Collins, and he does not abandon it in the 20 new poems here. (On-sale date: Sept. 11) Forecast: A reading on NPR's A Prairie Home Companion was the beginning of serious sales for Picnic, Lightning (40,000 copies and counting), while The Art of Drowning has sold 26,000 since 1995, and Questions About Angels clocks in at 21,000 since 1991. Collins's reading tours for this book should help reach even more readers, and some browsers may remember the Times story.
Copyright 2001 Reed Business Information, Inc.
From Library Journal
This new volume from the newly appointed poet laureate of the United States has survived the publishing rights war between Random House and the University of Pittsburgh Press. The wait has been well worth it. The surface structure of these poems appears simplistic, but subtle changes in tone or gesture move the reader from the mundane to the sublime. In an attempt to sleep, the speaker in "Insomnia" moves from counting sheep to envisioning Noah's arc to picturing "all the fish in creation/ leaping a fence in a field of water,/ one colorful species after another." Collins will tackle any topic: his subject matter varies from snow days to Aristotle to forgetfulness. The results are accessible but not trite, comical but not laughable, and well crafted but not overly flamboyant. Collins relies heavily on imagery, which becomes the cornerstone of the entire volume, and his range of diction brings such a polish to these poems that the reader is left feeling that this book "once opened, can never be closed." This volume belongs in everyone's library; highly recommended. Tim Gavin, Episcopa Acad., Merion, PA
Copyright 2001 Reed Business Information, Inc.
From Booklist
Collins, that rarest of creatures, a truly popular living poet, is currently poet laureate, an appointment well celebrated with this fertile gathering of nearly 100 poems--20 newly minted, the others selected from four earlier volumes, including Picnic, Lightning (1998). On every delectable page, Collins performs nimble feats of the imagination and gives voice to an emotion we foolishly trivialize and condemn: pure pleasure. Nurturing a childlike love and talent for make-believe, he enters the landscape of a Hudson River painting; offers funny takes on history; writes lovingly of dogs, music, cups of tea, and books; and sees everything as a living entity, from a piano to a calendar pinup to the dawn. But what appears to be whimsy is, in fact, a graceful and ongoing inquiry into the nature of being. Mischievous and deeply attentive, inventive and grateful, Collins moves stealthily toward the essentials, quietly celebrating the simple and reflective life and gently reminding readers to respect and treasure our species' tenuous place on the great thrumming web of life. Donna Seaman
Copyright � American Library Association. All rights reserved
Most helpful customer reviews
2 of 2 people found the following review helpful.
Take Collins Along
By Think About It
The first poem I read of Billy Collins' was "Forgetfulness". I am glad it is in this collection because it so well epitomizes the everyday nature of his poems, the way he speaks to us as if we were just visiting and he is describing some incident in his life, or expounding on something that matters to him. I could see him in the student lounge, in the leather chair next to the Rodin, at our local Dry Dock Brewery or at a coffee shop. He would be the one we would all gather around. I am the one, however, who posted that his reading style doesn't do justice to his writing. In retrospect, maybe his low key reading is nuanced to go with his poems.
Now, that I have been trying to write poems, when I read his poems, I find myself wanting to mimic his writing style. One of the things I notice is that he doesn't hurry things, he doesn't summarize. I feel rushed in my writing, like I'm giving an acceptance speech at the Oscars and someone is standing off camera signaling me to wrap it up. Billy, though, for example, in "Fishing on the Susquehanna in July" takes 13 stanzas to describe how the closest he ever came to fishing on the Susquehanna was seeing a painting in a museum, in Philadelphia, of someone in a little boat fishing on the Susquehanna. These extra lines, though, give the poem its depth and reality and the well drawn images then stay with you.
Billy Collins then goes deeper and adds themes to his basic subject matter. If Norman Rockwell had painted like Billy writes the pictures would not only have been warm slices of Americana, they would have contained poignant bits of reality such as maybe a woman looking bored at Thanksgiving Dinner or quarreling with whomever was seated by her.
I like how he shares with us as if we were his close friends. For example, in "The Three Wishes" he goes through the first several stanzas showing how the foolish man and wife wasted the wishes they were granted. The man, hungry from work, wishes for sausages which angers his wife who then wishes the pan to stick to his nose. Collins discusses the moral of the story, the foolishness of the couple and what they could have had. Then, he ends, in an almost covert whisper by telling us that this story always makes him hungry for sausages.
And of course he makes it all look so easy. Another favorite of mine is "Dharma" about his dog who "If only she did not shove the cat aside/every morning/and eat all his food/what a model of self-containment she would be". His use of line breaks and enjambment set the pace and place emphasis where he wants it. His techniques are subtle such as his use of consonance in this poem with brown coat, blue collar, steady breathing. He uses assonance too in this poem, earthly, eager, ears.
It's neat that he became Poet Laureate, that he was recognized for what he offers. This collection of his is a great book, for yourself or as a gift for a dear friend.
0 of 0 people found the following review helpful.
Expanding Your Mind One Poem at a Time
By Amazon Customer
Billy Collins’ poetry collection "Sailing Alone Around the Room: New and Selected Poems" is a book for the average everyday reader or a reader who is new to poetry. Unlike poetry that is heavy in its meaning, metaphors, or use of older English such as poetry by William Shakespeare, John Milton, or Robert Frost, Collins creates poetry that is more accessible to the modern reader by making his poetry more approachable, especially if the reader is new to poetry. The different ways his poetry is more approachable is through his readability, language usage, relatable content, and his use of imagery.
Readability
Collins poetry is humorous, light, and insightful allowing an inexperienced reader to easily read through his poetry while also giving substance to the more devout poetry reader. He is able to gently guide the reader through a poem allowing the reader to smile, to get anxious, or to laugh without always having to look for a deeper meaning, as the surface of the poem is just as telling as the deeper meaning.
Language Use
His modern language is relatable to everyone in the modern age giving a feeling of inclusiveness to his poetry. New readers will be able to laugh with Collins in his poem “Another Reason Why I Don’t Keep a Gun in the House”, while more experienced readers will enjoy other poems such as the poem “Litany”.
Relatable
Most of the poems within this collection have relatable content. There are multiple poems relating to school settings, and usually end up as parodies that give passing commentary as well as entertainment to this theme. If you are a history buff, then Billy Collins poems are for you as well, as many of his poems make comments on historical events. Overall, this collection has a variety of poems that allow almost all readers to connect with at least one poem.
Imagery
Another advantage of reading Collins’ poetry is his use of imagery. The reader does not need to struggle to understand the content because of the simplicity of the language he uses, and the ability to create an image in the reader’s mind. Collins’ poetry is good at creating an image in the reader’s head through the words he chooses to use.
Billy Collins’ "Sailing Alone Around the Room: New and Selected Poems" will enhance your mind and life, while giving a new perspective on modern culture.
3 of 4 people found the following review helpful.
Intelligent, accessible, striking poetry
By Jonathan S
Billy Collins describes his poetry best himself, in "Lines Lost Among Trees", when he writes of "...the little insight at the end/wagging like the short tail/of a perfectly obedient spaniel/sitting by the door." Many of the poems throughout this collection feature a turn of phrase- if not a twist, then a recapitulation- in the final stanza that makes the reader draw a breath, then say "Yes. That's it."
There's little that's academic or self-consciously poetical about Collins' writing, although he is both a professor and a poet for whom his art is subject matter as much as medium. Some of the best, most touching and funniest works in this collection deal with poetry itself, but none are contrived. There's sensuality along with intelligence- "Osso Buco", "The Best Cigarette" and others deal concretely but delicately with the sensations of living and a poet's response to them. There's jazz in plenty, evoked, imitated and responded to, and plenty of musings (and musings on musings) on the poetical old standbys of sex and death. And it all works.
I couldn't find lines better than Collins' own to begin this review, nor to end it (from "Reading an Anthology of Chinese Poems of the Sung Dynasty, I Pause to Admire the Length and Clarity of Their Titles"):
How easy he has made it for me to enter here,
to sit down in a corner;
cross my legs like his, and listen.
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