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In Land’s End, we see Mazur writing with the kind of lyric authority, ever-deepening emotional range, and intellectual and social scope that her readers have come to expect in her poetry. Beautifully crafted elegies meet with reflections on her own life, her family, and artists who have come and gone. In the title poem, she leads readers through a garden, where new and old growth twists together in an “almanac of inheritances” that conjures the rich memory of poets who have passed on. In this space of remembrance, Mazur also charges us with the responsibility of nurturing art and artists of the future, especially in the face of the disheartening absurdities of contemporary politics. Contemplating the growth and decay so entwined in life, these poems invite us to consider both inevitable brokenness and necessary hope, writing “My work now: to continue learning to absorb the loss, / and live.”
Through tidal creeks and the weightless scenes of ukiyo-e woodcuts, in artists’ studios and along the frozen Charles River, Mazur connects passionately with the world around her. Carrying with her the undeniable presence of loss and of time past, she engages deeply with the present, her historic memory informing a deep concern for contemporary life. Reading Land’s End, we find ourselves with the poet: as if here at land’s end, here on the coast, urgent,
together we’d have energies to do battle forever.
As if we could rescue the guttering world….
A Note From the Publisher
PRAISE FOR MAZUR'S FORBIDDEN CITY':
“Powerful. . . . Mazur’s poems register the constant tug between holding on and letting go that is an inescapable condition of her life: she is always bumping up against a glimmer from the past or the future, even as she goes through each day.”—Hyperallergic
“Mazur examines her response to desolation with unsparing meticulousness. The results are poems that expand our understanding of the consolation of nature, the miracles of art, and the power of imagination. . . . In its passion and invention, line by line, Forbidden City reveals Gail Mazur as an artist writing at the height of her powers.”—On the Seawall
“No one—and I mean no one—writes poems as chock full of such nuanced feeling as Gail Mazur. She is as good as it gets.” —David Rivard
“With courageous disinterestedness, Mazur turns private particulars into universal images with a light poetic touch. We feel what she feels in the most ordinary objects and images that shine as human touchstones for our common longings and laments."—Harvard Review Online