Minds Of Europe: A Genealogy to The Fat Man

October 10, 2014

My book-length manuscript titled “Minds of Europe: A Genealogy to The Fat Man” is a series of poorly scribed palimpsests, a footbridge to the early 20th Century, a séance of sorts to channel poets, and thinkers, a series of reenactments of what Paul Valery called collectively “the mind of Europe:” “Every mind of any scope was a crossroads for all shades of opinion; every thinker was an international exposition of thought. There were the works of the mind in which the wealth of contrasts and contradictory tendencies was like the insane displays of light in the capitals of those days: eyes were fatigued, scorched….” Nietzsche, Freud, and Eliot all had something to say about the idea, enough to make it a core concept to Modernism. There is a three page introduction for this collection if the editor desires it. I have taught courses in modern and contemporary American, British, and French poetry; I am familiar with the work I cover.

The revised manuscript is broken into two chapters. The second chapter begins with Eliot’s remark that “For our society, the improvement of ethics might require the decay of aesthetics.” Mary Shelley’s Frankenstein transcends the manuscript and re-minds the reader. While my manuscript enters into the conversation regarding the above statement by Eliot, a reader may be advised to remember his remark on meaning in poetry when reading mine: “meaning [is] necessary to soothe the reader while the poem does its work.” The collection makes poignant Kevin Jackson’s Constellation of Genius and Stephen Klaidman’s Sydney and Violet. I believe the market to be an educated market, perhaps suggested reading for university courses.

A Copper Canyon reader remarked on an earlier draft of “Minds of Europe,” “academic in mission, Murphy’s poems insert themselves into the most rigorous tradition of thought.” A second wrote, “I admire the moments of humor/humility in lines such as . . . .” Twenty-five pages from the “Minds of Europe” manuscript were 2011 finalist in the Teacher’s Voice Poetry Chapbook Prize and an earlier version of the book-length manuscript was a finalist in the Santa Fe Writers Project Poetry Awards 2011. In September 2013, a chapbook collection from the manuscript won finalist at Poetica Magazine: Contemporary Jewish Writing. A possible introductory essay, “Minds of Europe as Reenactment,” was presented at the International Conference for New Directions in the Humanities in Budapest, June, 2013 and a version of it was published as a Blue Fifth Review Broadside, July 2014: http://bluefifthreview.wordpress.com/2014/07/31/broadside-35-summer-2014-14-14/.

Americana my third book of poems was selected as the winner in the Prize Americana 2013 by The Institute for American Studies and Popular Culture, an institute committed to creative writers as creators of culture and recorders of crucial ideas and important cultural moments. My first book, The Apple in the Monkey Tree, was published in 2007 (Codhill Press); my second book Voyeur was published in 2009, winner of the 2008 Gival Press Poetry Prize. Chapbooks include Paideia (Aldrich Press), Family Secret (Finishing Line Press), Hunting and Pecking (Ahadada Books), Phoems for Mobile Vices (BlazeVox), Rescue Lines (Right Hand Pointing) and Great Grandfather (Pudding House Publications).

Richard Carr wrote of my book Voyeur, “The poems are extraordinary as individuals, from the intriguing declarative first sentence of each down to its decisive, glistening last line.  And as a collection, like ‘a subtle song [that] travels / from ancient feet through hearts / to first breath in the world,’ Voyeur is spectacular.” Charles Alexander has written of Americana: “…These finely wrought poems are a vision of our moment, and they are keepers for the future, wherever we may go.” Geoffrey Gatza also wrote “Sheer intelligent joy runs through this book, hurray!” Derek Walcott remarked on my poetry, “Mr. Murphy is a very careful craftsman in his work, a patient and testing intelligence, one of those writers who knows precisely what he wants his style to achieve. His poetry is quiet but packed, carefully wrought, not surrealistically wild, and its range not limited but deliberately narrow. It takes aim.”

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