Unmanly Grief: Poems

by Jess Williard

Overview

Finalist, 2019 Miller Williams Poetry Prize

“Poems that lead us to striking insights and strange destinations.”
—Billy Collins

The men who recur as characters throughout Jess Williard’s Unmanly Grief perform their masculinity in a variety of ways: boxing, theater, brotherhood, labor, and familial and romantic love. Marked by a sharp nostalgia, Williard’s poems move from Wisconsin to New York City and back, tracing the geographic movement of the speaker and his family: a teenage sister who disappears and returns, changed irrevocably; an older brother dismantled in adulthood; an ever-sacrificing father. Woven through the musculature of this varied and exciting collection, music appears as readily in dexterous formal verse as in lean, scrappy storytelling. What results is a crooning celebration of struggle and tenderness in this world, “where to be small and furious is enough.”

Finalist, 2020 Milt Kessler Poetry Book Award from the Binghamton Center for Writers

Product Details

ISBN-13:	9781610756624
Publisher:	University of Arkansas Press
Publication date:	03/27/2019
Series:	Miller Williams Poetry Prize
Sold by:	Barnes & Noble
Format:	eBook
Pages:	50
File size:	902 KB

About the Author

Jess Williard’s poems, stories, essays, and reviews have appeared in Poetry Northwest, Third Coast, North American Review, Colorado Review, Southern Humanities Review, Poet Lore, and more. He is originally from Wisconsin and now lives in Atlanta. This is his first book.

Table of Contents

Contents Series Editor's Preface Acknowledgments A Man in the Stands ONE On Boxing Practice The Problem of Ankles For Floyd Patterson: A Letter Townie Elegy Doctrines on Getting Lost Rod Filament Andronicus with Tar For Claudius Kissing At The Touching TWO To Clarey On Summer in Southern Wisconsin From the Top Float Most High Picture of a Girl At McKinley Aquatics Center Look Let's Intuit Something Worth It Soundstripe Shadowbox THREE Hands Twice Turn Generous The Spoils Even Heat Collateral Siren for Manny Pacquiao Following Feat Apologia Watch for It Everywhere Grace to Our Spines The Creatures We Must Become Notes

Editorial Reviews

Jess Williard’s powerful debut sings the stories of the workaday world into the realm of the epic. With a vision that moves beautifully between the horrific and the sublime, and voice that yawps as brightly as it yearns, Williard’s poetry moves us to take a second look at the fringes and see both ‘the battered and battering’ among us. Self-deprecatory and sometimes ashamed, elegiac and often celebratory, these poems dance around the poet’s own eloquent question: ‘Measured against the beautiful-/brained and impermanent, how can we not be a little grotesque?’”
—Dean Bakopoulos, author of Please Don’t Come Back from the Moon


“In Unmanly Grief, the pale apostles of youth lead us through a childhood of corn and cement. Jess Williard shows how quiet some violences can be, how our incorrect heaven communicates through bats and waves, as well as what to believe in—the low pools of mourning where ‘formal nouns will stack their spines on any ground.’ This book knows the before and after of loves that don’t ask us to hurt for them; this book is that kind of love, the kind you keep.”
—Traci Brimhall, author of Saudade and Our Lady of the Ruins


“Jess Williard’s Unmanly Grief is a journey into an unsung and often unseen America—and a love song to all those working just to get by. Here are poems of the people, told not in the elevated register of so much poetry, but in the rough and beautiful, guttural music of plain speech.”
—Patrick Phillips, author of Elegy for a Broken Machine


“Unmanly Grief intersperses narratives of the body’s specificity, vulnerability, and perseverance with feats of lyrical reflection and music enough to bridge the gap between the personal and shared nature of those narratives. The tension between the stories of the poems (grounded in family, work, place) and what can be made of such reverent, yet unflinching observation gives the poems their power. There’s grounding in detail, voice, and careful observation, but also room, occasion, and audacity enough to leap from boxing to roofing to Hamlet and back.”
—Max Garland, author of The Word We Used for It

From the Publisher