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Book Categories |
| Introduction | 9 | |
| Spokes (1970) | 19 | |
| Unearth (1970-1972) | 35 | |
| Wall Writing (1971-1975) | 63 | |
| White Nights | 65 | |
| Matrix and Dream | 66 | |
| Interior | 67 | |
| Pulse | 68 | |
| Scribe | 69 | |
| Choral | 70 | |
| Meridian | 71 | |
| Lackawanna | 72 | |
| Lies. Decrees. 1972 | 73 | |
| Ecliptic. Les Halles | 74 | |
| Dictum: After Great Distances | 75 | |
| Viaticum | 76 | |
| Still Life | 77 | |
| Fore-Shadows | 78 | |
| Ireland | 79 | |
| Prism | 80 | |
| Wall Writing | 81 | |
| Description of October | 82 | |
| Covenant | 83 | |
| Shadow to Shadow | 84 | |
| Provence: Equinox | 85 | |
| Hieroglyph | 86 | |
| White | 87 | |
| Horizon | 88 | |
| Ascendant | 89 | |
| South | 91 | |
| Pastoral | 92 | |
| Incendiary | 93 | |
| Song of Degrees | 94 | |
| Fire Speech | 95 | |
| Lapsarian | 97 | |
| Late Summer | 98 | |
| Heraclitian | 99 | |
| Braille | 100 | |
| Salvage | 101 | |
| Autobiography of the Eye | 102 | |
| All Souls | 103 | |
| Disappearances (1975) | 105 | |
| Effigies (1976) | 115 | |
| Fragments from Cold (1976-1977) | 123 | |
| Northern Lights | 125 | |
| Reminiscence of Home | 126 | |
| Riding Eastward | 127 | |
| Gnomon | 128 | |
| Fragment from Cold | 129 | |
| Aubaude | 130 | |
| Testimony | 131 | |
| Visible | 132 | |
| Meteor | 133 | |
| Transfusion | 134 | |
| Siberian | 135 | |
| Looking Glass | 136 | |
| Clandestine | 137 | |
| Quarry | 138 | |
| Facing the Music (1978-1979) | 139 | |
| Credo | 141 | |
| Obituary in the Present Tense | 142 | |
| Narrative | 143 | |
| S. A. 1911-1979 | 144 | |
| Search for a Definition | 145 | |
| Between the Lines | 147 | |
| In Memory of Myself | 148 | |
| Bedrock | 149 | |
| Facing the Music | 150 | |
| White Spaces (1979) | 153 | |
| Translations (1967-1969) | 163 | |
| The Lover | 165 | |
| Second Nature | 166 | |
| Equality of the Sexes | 167 | |
| The Deaf and Blind | 168 | |
| All Paradise is Not Lost | 169 | |
| No Grounds for Prosecution | 170 | |
| Approximate Man I | 171 | |
| Servitudes | 175 | |
| Georgia | 176 | |
| The Swimmer | 177 | |
| At the Edge of the World | 178 | |
| I Have Dreamed of You So Much | 179 | |
| Like a Hand at the Moment of Death | 180 | |
| Lacenaire's Hand | 181 | |
| The Violent Rose | 182 | |
| Poets | 183 | |
| The Fired Schoolteacher | 184 | |
| Chain | 185 | |
| Observers and Dreamers | 186 | |
| The White Motor | 187 | |
| Mineral Kingdom | 193 | |
| Thirst | 194 | |
| My body ... | 195 | |
| Opened ... | 196 | |
| The wave ... | 197 | |
| Let us salute ... | 198 | |
| Gripped ... | 199 | |
| Notes from a Composition Book (1967) | 201 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Tonny Bøgebjerg
reviewed Collected Poems on January 01, 2013
Collected Poems
Paul Auster is a very talented man. His poems are well-made and he should be very proud of them. Auster says himself (and is quoted in the introduction) that these artifacts may be seen down the road as his very best work. I was not so enamored with his translations, but I don't think it had anything to do at all with the work Auster did on them. It was important for me to read these poems and I am more impressed with Auster than before. It has enabled a clearer understanding I would not have had otherwise. I don't know of many writers who successfully write poetry, fiction, and essays as well as Auster does. Hard to do all these well. Generally we need to stick with what works best, but Auster is proof that sometimes we just don't know. Glad he had the courage to try other things than poetry. We are all better for it. I really cannot tell you what any of his poems mean, but there is something about them that stays with you, which is good enough for me.
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