Largesse

Ellen Bryant Voigt

Banging the blue shutters–night-rain;and a deep gash opened in the yard.By noon, the usual unstinting sunbut also the wind, the olive trees gone silver,inside out, and the slender cypresses,like women in fringed shawls, hugging themselves,and over the rosemary hedge the pocked figgiving its purple scrota to the ground.What was it had made me sad? At the market,stall after noisy stall, melons, olives,more fresh herbs than I could name, tomatoesstill stitched to the cut vine, the softtransparent squid shelved on ice; also,hanging there beside the garlic braids,meek as the sausages: plucked fowl with feet.Under a goose-wing, I had a violent dream:I was carrying a baby and was blind,or blinded on and off, the ledge I walkedblanking out long minutes at a time.He’d flung a confident arm around my neck.A spidery crack traversed his china skull.Then it was not a ledge but a bridge, like a tongue.From the window over my desk, I could look downat the rain-ruined nest the sangliershad scrabbled in the thyme, or up, to the baldmountain in all the paintings. I looked up.That’s where one looks in the grip of a dream.

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Black-and-white headshot of a smiling Ellen Bryant Voigt

Ellen Bryant Voigt (1943—2025) was the author of eight volumes of poetry, including Messenger, a finalist for the National Book Award and the Pulitzer Prize. Her numerous honors included fellowships from the Guggenheim and MacArthur foundations.

“Careful, attentive, sometimes consoling, heartbreaking or plangent where no consolation can be found.”
—Stephanie Burt, New York Times Book Review

A monumental celebration of “one of the most significant poets writing today”
—David Baker, Los Angeles Review of Books

In eight extraordinary volumes spanning five decades, Ellen Bryant Voigt has created a body of work distinguished by its formal precision, rigorous intelligence, and meticulous observation of nature, history, and domestic life. From the subtly evocative images of Claiming Kin (1976) to the mosaic of sonnets and voices conjuring a prescient narrative of the 1918 influenza pandemic in Kyrie (1995) to fierce encounters with mortality in the National Book Award finalist Shadow of Heaven (2002) and the propulsive inventions of Headwaters (2013), the evolution of Voigt’s astonishing creative and technical mastery is on full display. This definitive collection showcases the brilliant career of “a quintessential American elegist”
—Katy Didden, Kenyon Review

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