With his signature wit and insight, award-winning poet Stephen Dobyns probes the secrets of the heart Consider the mysteries of the heart, that blood-pumping organ and, in Stephen Dobyns' latest collection of poems, the hapless romantic of our interior landscape. "The Himalayas Within Him" finds Heart worrying about the sound of his own heartbeat, wondering why it doesn't "blare like a quartet of trombones" as it reflects his "ardent complexity." In "Goodbye to the Hands That Have Touched Him" Heart, after suffering many sleepless nights, decides "that love exists at the root of his problems. Without love his path would be as smooth as a plate of glass and he'd sleep like a kitten." Dividing the Heart poems is the long "Oh, Immobility, Death's Vast Associate," a jazzy disquisition on human isolation and inaction in the midst of a planet full of people feeling similarly. Throughout Pallbearers Envying the One Who Rides Dobyns has painstakingly sculpted straightforward language into a distinct sound, creating an unforgettable collection of poems that offers readers unexpected revelations about the complexities of the heart. . . . Why is Heart alone in the chest? Because hope is an aspect of the single condition and without hope, why move our feet? To see himself as purely a such is Heart's obligation. Let's quickly depart before we learn what happens. Sometimes a car stops. Sometimes there is nothing. —from "Like a Revolving Door"
Author
Dobyns was raised in New Jersey, Michigan, Virginia, and Pennsylvania. He was educated at Shimer College, graduated from Wayne State University, and received an MFA from the Iowa Writers' Workshop at the University of Iowa in 1967. He has worked as a reporter for the Detroit News. He has taught at various academic institutions, including Sarah Lawrence College, the Warren Wilson College MFA Program for Writers, the University of Iowa, Syracuse University, and Boston University. In much of his poetry and some works of non-genre fiction, Dobyns employs extended tropes, using the ridiculous and the absurd as vehicles to introduce more profound meditations on life, love, and art. He shies neither from the low nor from the sublime, and all in a straightforward narrative voice of reason. His journalistic training has strongly informed this voice.
