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The emperor of water clocks
2015
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Library Journal Review
The personae encountered in Pulitzer Prize winner Komunyakaa's latest collection (after The Chameleon Couch) span the length and breadth of the human enterprise, from Cleopatra to President Obama, from 19th-century whalers to contemporary protesters in Russia and Ferguson. Always aware of how history ("a tyranny of frescoes") is perceived and understood through the individual's consciousness ("our dream-headed, separate eternities"), Komunyakaa deftly maintains a personal focus no matter how ancient or distant his triggering subjects, resisting the sprawl of narrative exposition in favor of the lyric form's concision and compression, its capacity to contain "seasons of blossoms in a single seed." And scattered throughout, the poet's signature invocations of jazz masters-Dizzy -Gillespie, Herbie Hancock, and others-provide resonant touchstones with his own life and times. VERDICT Though ambitious in scope, -Komunyakaa's globe- and time-traveling lyrics are disarmingly subtle and soft-spoken, intimate and candid, repaying multiple readings.-Fred Muratori, Cornell Univ. Lib., Ithaca, NY © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publishers Weekly Review
Big, full of characters, pleasant, and global in scope, Pulitzer Prize-winner Komunyakaa (The Chameleon Couch) moves away from the topics that won him his fame in a collection that should rank among his finest. During the 1980s, Komunyakaa's distinctively syncopated, jazz-influenced lines portrayed his Louisiana youth and his experience in Vietnam; more recently his sequences have updated and retold myths. Here, the poet is all over the map: ancient Egypt to Venice, "Yama or Carthage," Appalachia and beyond. He asks, "How many fallen empires dwell here triggered by a sundial,/ revolutions & rebirths?" Komunyakaa pursues an almost Heaney-like lyricism: "night sirens/ singing my birth when water/ broke into a thousand blossoms/ in a landlocked town of the South." Yet he returns focus to an array of mythical, current, and historical persons: out-of-work actors in modern Manhattan, Japanese dancer and choreographer Michio Ito, a battle-mad soldier, the Minotaur. Giants of jazz accompany non-Western music as models and as topics; narrative and introspection go hand in hand. There's even dry humor. Elegies and tributes to other senior poets-Galway Kinnell, Mahmoud Darwish, Derek Walcott-seem friendly and unforced, but unsurprising: what sticks around are the stranger, less famous figures who populate most of the book, brought to life in Komunyakaa's precarious, lively lines. (Oct.) © Copyright PWxyz, LLC. All rights reserved.
Summary

Another brilliant collection from Pulitzer Prize winning poet Yusef Komunyakaa, who David Wojahn has called one of our "most significant and individual voices," The Emperor of Water Clocks delights, challenges, and satisfies.

"If I am not Ulysses, I am / his dear, ruthless half-brother." So announces Yusef Komunyakaa early in his lush new collection, The Emperor of Water Clocks . But Ulysses (or his half brother) is but one of the beguiling guises Komunyakaa dons over the course of this densely lyrical book. Here his speaker observes a doomed court jester; here he is with Napoleon, as the emperor "tells the doctor to cut out his heart / & send it to the empress, Marie-Louise"; here he is at the circus, observing as "The strong man presses six hundred pounds, / his muscles flexed for the woman / whose T-shirt says, these guns are loaded "; and here is just a man, placing "a few red anemones / & a sheaf of wheat" on Mahmoud Darwish's grave, reflecting on why "I'd rather die a poet / than a warrior."

Through these mutations and migrations and permutations and peregrinations there are constants: Komunyakaa's jazz-inflected rhythms; his effortlessly surreal images; his celebration of natural beauty and of love. There is also his insistent inquiry into the structures and struggles of power: not only of, say, king against jester but of man against his own desire and of the present against the pernicious influence of the past.

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