By Ray Gonzalez
WINNER OF THE 2016 MINNESOTA e-book AWARD FOR POETRY
"[Beautiful Wall] is infused with mythos and formality, no matter if it’s a pilgrim discovering respite contained in the clean sanctuary of a cathedral’s colour, or a vacationer examining historic ruins...Gonzalez maintains his necessary position in American literature.”
-Diego Báez, Booklist
“Gonzalez has a manner of mixing the paranormal with the standard and nature with the realm of the kin to provide poems lush with empathy.”
"Gonzalez...has demonstrated himself as a author of place....[In his poems] panorama turns into a palimpsest the place no unmarried narrative reigns."
Beautiful Wall takes us on a profound trip in the course of the deserts of the Southwest the place the ever-changing usual panorama and an competitive border tradition rewrite intolerance and ethnocentric inspiration into human background. Inextricably associated with his Mexican ancestry and American upbringing, Ray Gonzalez's new assortment mounts the wall among the present realities of violence and politics, and a gorgeous, never-to-be-forgotten past.
Ray Gonzalez is the writer of fifteen books of poetry. The recipient of diverse awards, together with a 2002 Lifetime fulfillment Award from the Southwest Border neighborhood Library organization, he's a professor on the collage of Minnesota in Minneapolis, Minnesota.
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Extra info for Beautiful Wall
He went on to publish them in 1827, when he was 17 years old. It is hard not to smile. Yet the poem suggests how deeply the idea of memory as a necessary and disturbing source of poetry is embedded in his early ambitions. His preoccupation grew from his devotion to the charismatic Romantic ﬁgures (Wordsworth, Coleridge, Byron, Shelley) who had redeﬁned literature’s engagement with the past. He came to know their work just as they were themselves passing. ’ (Mem. ii. 475). Such a response to loss—the impetuous rush for solitude, the lonely cry followed by an act of memorial writing—would be repeated throughout his life.
9 But there is much falling in The Princess. When tears fall, as in and after the ‘Tears, idle tears’ lyric, with its ‘dying ears’ and ‘dying eyes’, they are given ﬁrst to shaking, like the long light across the lakes: She ended with such passion that the tear, She sang of, shook and fell, an earring pearl Lost in her bosom. (IV. 40–2) Tears are also ‘gracious dews’ that ‘began to glisten and to fall’ (II. 295–6). This falling with a terminal cadence is recurrent in the poem: the Princess herself, tumbling into a river, sees her robe ‘Rapt to the horrible fall’; the Prince remembers ‘that burnt sorcerer’s curse j That one should ﬁght with shadows and should fall,’ before ‘fall’ modulates to ‘ﬂash’—‘And with a ﬂash the weird affection came’; then his swoon takes a triply-stumbling cadence: ‘and dream and truth j Flowed from me; darkness closed me; and I fell’ (IV.
Blow, bugle, blow, set the wild echoes ﬂying, Blow, bugle; answer, echoes, dying, dying, dying. O hark! O hear! how thin and clear, And thinner, clearer, farther going! O sweet and far from cliff and scar The horns of Elﬂand faintly blowing! Blow, let us hear the purple glens replying: Blow, bugle; answer, echoes, dying, dying, dying. O love, they die in yon rich sky, They faint on hill or ﬁeld or river: Our echoes roll from soul to soul, And grow for ever and for ever. Blow, bugle, blow, set the wild echoes ﬂying, And answer, echoes, answer, dying, dying, dying.
Beautiful Wall by Ray Gonzalez