Background
Keelan, who was born in Anaheim, California, is a graduate of Humboldt State University and the Iowa Writers" Workshop.
( The experimental and L-A-N-G-U-A-G-E influence is clear...)
The experimental and L-A-N-G-U-A-G-E influence is clear, yet The Devotion Field offers, in a number of urban elegies, more narrative and personal (though still political) detail than has been Keelan’s habit. Full of cultural and social critique, the poems concern themselves with the artifice of language, the art of being and the art of art, the fragmentation and continuous flux of contemporary life. She employs trademark techniques: stream-of--consciousness, free association and associative leaps, in addition to a new emphasis on melody and musical phrasing. Antique She brought the teapot because it was broken & broken still valuable, A thing not available to her otherwise. On its restored surface a pastoral Flickered once. Too late. She was not honest but she was a poet Mending the broken valuable . . . “What absolute nonsense!” cried the Earthworm.“Nothing Is ever all right in the end and well you know it.” Poor Earthworm, Ladybug whispered, Loving all that is disaster Bellydown breathing with it everafter. “Claudia Keelan’s The Devotion Field fully confirms the promise of her earlier books, especially the recent Utopic. The quotidian world of what seems to be things, ‘dog food and soil,’ ‘dust and bits of paper,’ flows naturally and luminously into the world of ideas, which becomes even more palpable. ‘Into the possibilities of the next page, / Or more nearly, another day.’ The transit, returning us to where we always are, is breathtaking.”—John Ashbery Claudia Keelan is the author of three previous prize--winning collections of poetry. She teaches in the MFA and Ph.D. programs at the University of Nevada, Las Vegas and is the editor of Interim.
http://www.amazon.com/gp/product/1882295463/?tag=2022091-20
(If God is not available, then what is? In this collection...)
If God is not available, then what is? In this collection of "coming of age" poems, Claudia Keelan attempts to answer that question by testing the limits of influence on one writer's notions of self and God. Those influences, or teachers, are as varied as literature, family, and organized religion. Through many voices, The Secularist shapes new poetic forms through which God may be glimpsed.
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( Keelan’s experiments with parts of speech, punctuation ...)
Keelan’s experiments with parts of speech, punctuation and line are experiments dedicated to finding what life has been left out or erased in dominant culture’s acceptance of conventional language modes. Utopic sings the blues for those unacknowledged.
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(The poems in Refinery, her first major collection, everyw...)
The poems in Refinery, her first major collection, everywhere attest to Keelan's search for the true burried under the often deceptive surfaces of the real. These are poems of generosity, clarity, and moral sublety. A luminous debut. --Ann Lauterbach
http://www.amazon.com/gp/product/1880834081/?tag=2022091-20
Keelan, who was born in Anaheim, California, is a graduate of Humboldt State University and the Iowa Writers" Workshop.
She is the author of five collections of poetry, most recently, and has published poems widely in magazines and journals, including The American Poetry Review, Smartish Pace, Electronic Poetry Review, Conduit, Pequod, American Letters & Commentary, and Jacket Magazine. She has published poems and essays in anthologies including The Grand Permission: New Writings on Poetics and Motherhood, (Wesleyan University Press, 2003) and American Hybrid: A Norton Anthology of New Poetry (World War Norton, 2009). Keelan is the editor of Interim, a print and on line journal specializing in poetry, translation, belle lettres and book reviews.
2001 Silver Pen Award.
( The experimental and L-A-N-G-U-A-G-E influence is clear...)
(If God is not available, then what is? In this collection...)
( Keelan’s experiments with parts of speech, punctuation ...)
(The poems in Refinery, her first major collection, everyw...)
(In poems performed via scat singing, via documentary, poe...)