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Kenneth Koch has published many volumes of poetry, most recently New Addresses, Straits and One Train. He was awarded the Bollingen Prize for Poetry in 1995, in 1996 he received the Rebekah Johnson Bobbitt National Prize for Poetry awarded by the Library of Congress, and in 2001 he received the first Phi Betta Kappa Prize in Poetry. His short plays, many of them produced off- and off-off-Broadway, are collected in The Gold Standard: A Book of Plays. He has also written several books about poetry, including Wishes, Lies, and Dreams; Rose, Where Did You Get That Red?; and, most recently, Making Your Own Days: The Pleasures of Reading and Writing Poetry. He taught undergraduates for many years at Columbia University. He passed away in 2002.
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Kenneth Koch, who has already considerably "stretched our ideas of what it is possible to do in poetry" (David Lehman), here takes on the classic poetic device of apostrophe, or direct address. His use of it gives him yet another chance to say things never said before in prose or in verse and, as well, to bring new life to a form in which Donne talked to Death, Shelley to the West Wind, Whitman to the Earth, Pound to his Songs, O'Hara to the Sun at Fire Island.
Koch, in this new book, talks to things important in his life -- to Breath, to World War Two, to Orgasms, to the French Language, to Jewishness, to Psychoanalysis, to Sleep, to his Heart, to Friendship, to High Spirits, to his Twenties, to the Unknown. He makes of all these "new addresses" an exhilarating autobiography of a most surprising and unforeseeable kind.
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His title poem is a stirring collection of disconnected and connected sentences on such themes as love, politics, and the exploration of sub-polar seas. "Vous etes plus beaux que vous ne pensiez" is a series of bright, rapid sketches of the lives of ten artists and writers. Writing in a variant of the style of the eighteenth-century poet James Thomson, Koch revives an old genre--praise of the seasons--with his own characteristic mixture of clarity and sensuous excitement. A group of twenty-five poems called "Songs from the Plays" creates a new genre: songs written for plays that don't exist but from which plays might be imagined or constructed. "My Olivetti Speaks" is perhaps Koch's clearest and wittiest meditation on the nature of poetry itself. The themes of time and change in individual lives are given an unusual look in "Study of Time" and the Villon-like "Ballade."
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Intensely serious beneath a surface of lightness and wit, Kenneth Koch's poems "maintain power," Denis Donoghue wrote, "by rarely choosing to exert it." Koch's virtuosity -- he has written many plays, an extravagant novel (The Red Robins), and short stories (Hotel Lambosa), and has done numerous collaborations with painters -- seems part of a continuing and energetic attempt to write (in the words of Ariosto) "things never said in prose before or in verse." Almost every poem is a new kind of poem, a new flight -- in this volume, for example, the theme and variations of "One Train May Hide Another," the "poems by ships at sea," the post-Apollinairean couplets of "A Time Zone," the Chinese poetry-influenced quatrains of "The First Step," and the hundred or so brief poems that together make up the poem "On Aesthetics.""Kenneth Koch, a unique poet, has continued to explain his 'own idea of what made sense,' writing poems for forty years, without ceasing to be human and funny, without ever forgetting what poetry is. The result, for the reader, is an unusual delight... He is above all a love poet, therefore a serious one. His idea 'to do something with language / That has never been done before' (Days and Nights), expressed with an immodesty that is only apparent, is made good throughout." Frank Kermode
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