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| Foreword | 10 | |
| Preface | 12 | |
| The Spanish Professor | ||
| The Boy Who Loved Butterflies | ||
| Gifts from Meiling | ||
| One of the Last Times I Saw You | ||
| Watching for Meteors on Nestucca Bay | 14 | |
| Conversion | ||
| At Slea Head, County Kerry, Spring | ||
| The Heron | ||
| The Mourning Dove | 20 | |
| Angels | ||
| Yellow Archipelago | ||
| A Poe Story | ||
| Detroit, City of Straits | ||
| Machines | 26 | |
| Beautiful Zombies | ||
| Khv:na | ||
| Last Days at Petland on Aurora Avenue | ||
| Definition of Space: Giacometti, 1901-1966 | 32 | |
| The River Inside | ||
| The River Everywhere | 38 | |
| Windy City | ||
| Today, Tonight | ||
| Overhead Fan | ||
| Inspiration | 44 | |
| Unplugged | ||
| Exam | ||
| Arlington Street | 50 | |
| Amber Necklace from Gdansk | ||
| Dancing with My Sister | ||
| Our Last Day in Krakow | ||
| Portrait of My Father, Learning to Count | 56 | |
| Call The Mainland | ||
| Failure | ||
| Close | 62 | |
| Word | ||
| Spindrift | ||
| Memory | ||
| World Enough | ||
| In the spectrum of light | 68 | |
| For the Taking | ||
| from The Woman Who Died in Her Sleep | ||
| Fish Dying on the Third Floor at Barneys | 74 | |
| Issa Casts a Dry Fly at the Moon | ||
| This River | ||
| Fish Flies | ||
| Two Dogs with Children | 80 | |
| from Geo-Bestiary | 86 | |
| Building a Painting a Home | ||
| Plus Shipping | ||
| Other Lives and Dimensions and Finally a Love Poem | ||
| Finally I Buy X-Ray Glasses | 92 | |
| The Expatriates | ||
| Lullaby after the Rain | ||
| Macabre | ||
| Qui Tollis Peccata Mundi | 98 | |
| In the Backyard | ||
| The Gardener | ||
| Diligence | ||
| Monet's Garden | 104 | |
| San Diego Good-Bye | ||
| Johnny B. | ||
| Teach Africa | ||
| Things Ain't What They Used to Be | ||
| Detroit Addendum | 110 | |
| Retirement | ||
| 510 | ||
| Shipping Papers | 116 | |
| Spectators As We Are | ||
| Syzygy in Center Field | 122 | |
| Cocktail Waitress | ||
| My Heart | 128 | |
| New Numbers: Xelah Xalong, Quaro, Hystra | 134 | |
| The Raccoon | ||
| Poem with Wisteria Growing along Its Margin | 140 | |
| Death on U.S. 131 | ||
| Cigarette Break | ||
| A Poem about Blue Gills | ||
| Three Stories about Owls | 146 | |
| An Evening Walk to the Sea by Friesians | ||
| Bishop's Island | ||
| The Old Operating Theatre, London | ||
| Still Life in Milford - Oil on Canvas by Lester Johnson | 152 | |
| Packrat | ||
| On Corcovado Mountain | ||
| Reluctant Light | ||
| "The Sun Do Move" | ||
| Renewal | 158 | |
| Brothers | ||
| Light | ||
| Black Light | ||
| On Becoming Bird | 164 | |
| Horse Hair Mattress | ||
| Trout | ||
| Spring Thaw | ||
| Dahlias | ||
| A Hog Slaughtering Woman | 170 | |
| The Thing He Regretted | ||
| Woman of Wood | ||
| Woman of Water | 176 | |
| Rust | ||
| Poaching with Darby and Happy Harry | ||
| Eating Fire | ||
| The Size of Heaven | ||
| "I with no rights in the matter" | 182 | |
| Honeymoon | ||
| Poem for My Mother | ||
| Block Party | ||
| Line from a Journal | ||
| Last Night, an Owl | 188 | |
| Deer at the Door | ||
| At Manitoulin | ||
| The Language of Whales | ||
| October Light | 194 | |
| The Limitation of Beautiful Recipes | ||
| The Right Empowerment of Light | ||
| A Hot Time in a Small Town | 200 | |
| Renoir's Bathers | ||
| Rapture Three | 206 | |
| Paradise, Michigan | ||
| In the Time of Blithe Astonishments | ||
| The Fold-Out Atlas of the Human Body | 212 | |
| What I Learned at "Down the Road" Cafe | ||
| Hiding Places for the Trout | ||
| Because This Did Not Happen to Me | ||
| Awakening | 218 | |
| When You Finish Your First Real Poem | ||
| Sirens | ||
| Slice of Life | ||
| Pocket Watches | ||
| Two for Tin Pan Alley | 224 | |
| Release | ||
| Pears | ||
| Trek | ||
| Hard Work | ||
| November | ||
| What Is Our Deepest Desire? | 230 | |
| Moon through an Amber Glass | ||
| A Postcard from My Mother | ||
| Angels | 236 | |
| Aftereffects of Bell's Palsy | ||
| Metonomy | ||
| Our Third Wedding Reception This Year Hits Its Stride | ||
| Tripping | ||
| The Sword | 242 | |
| Charon in August | ||
| Fidelity | ||
| Terrible | 248 | |
| Cheese Lines, Flint, Michigan | ||
| Neighborhood | ||
| Solving for Zero | 254 | |
| I Am Wearing Your Shirt | ||
| First Cut | ||
| Against Elegies | 260 | |
| Julie Ann in the Bone Marrow Unit, Zion, Illinois | ||
| Becoming | ||
| Begin | ||
| King | ||
| Interlochen Center for the Arts | 266 | |
| The Blue Turtle | ||
| Bees | ||
| Mime | ||
| The Most Terrible and Beautiful Thing | ||
| In a Field of Sunlight | 272 | |
| Widow's Peak | ||
| Polar | ||
| Girlfriend | ||
| The Girl Who Would Live | 278 | |
| The Dance | ||
| Kansas | ||
| Houseboy | ||
| Rising | 284 | |
| Entropy | ||
| Desire | ||
| Luck | ||
| Ruins | ||
| Matrimony | 290 | |
| Thanksgiving | ||
| The Off Season | ||
| The Wine Spectator | ||
| Angora | ||
| Second Marriage | 296 | |
| The White Kid | ||
| Carnival Worker | ||
| Boys in Boxing Poses | ||
| Epilogues from Seven Unsuccessful Stories about My Father | 302 | |
| The Last Cherry Bomb | ||
| What Opens | ||
| Death at Camp Pahoka | ||
| Joining Hands | 308 | |
| Father in October | ||
| His Days | ||
| A Morning | ||
| Tea | 314 | |
| When the Babe Stormed New York | ||
| Wooden Ducks | ||
| Ties | ||
| Maris and Dylan Came Scowling out of Hibbing, Minnesota | 320 | |
| In February | ||
| Outside of Town | ||
| Painting Shutters | ||
| Bodies | ||
| Miles Davis | ||
| Making a Fire | 326 | |
| Blue Nails | ||
| Costa Rican Coffee | ||
| Wanting Bees | ||
| Beauty | 332 | |
| Late Raking | ||
| Wolf Moon Morning | ||
| Planning of Paris, First Time | ||
| Why We Love Men Dancing | 338 | |
| X and Y | ||
| How to Draw a Crow | ||
| Losing It | 344 | |
| Tribute to Four Michigan Poets | ||
| Philip Legler | 352 | |
| Lawrence Pike | 354 | |
| Stephen Tudor | 356 | |
| John Woods | 358 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Rhonda Norbury
reviewed New Poems from the Third Coast: Contemporary Michigan Poetry on April 18, 2013 New Poems from the Third Coast: Contemporary Michigan Poetry
I found this book to be utterly baffling, honestly. Until I got to a couple unexpected velvet underground references. I read it in tandom with Ed Dorn Live, which is a new book of interviews, etc., and it cleared up alot about the guy for me. I never really knew him, but did sit at the dinner table with him once or twice and saw what some of his manners were like.
At his best I'd say he is a great rhapsodic intellect--not like the subsequent boring majoroity generation of poets of whom a great many don't even read their own work well. He is of that earlier generation born around the thirties or into the forties who grew up without television and receieved classical educations, but who were also hip in a way that can't exist now--when the social divisions in the country were still physical, rather than the abstractions we have today in economics and the odd mix of news saturation/deprevation we endure for essentially no reason. Back to Gunslinger: I will need to read this again at some point in my life, maybe after filling in some gaps in my education. Dorn never explains himself, he just lets his wit carry the poem threads; but this is essentially a long wild conversation among some strange characters. The fact that people are actually talking is what sets this apart from a large amount of poetry today--though I won't bother with a further decrying of that type. Anyway, check it out as a must while you can--this edition in is from 1989, and I don't know if a reprint is iminent, though this type of work should never be long out of print.
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