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Mary Jo Salter : A Phone Call to the Future: New and Selected Poems before purchasing it in order to gage whether or not it would be worth my time, and all praised A Phone Call to the Future: New and Selected Poems:

1 of 1 people found the following review helpful. ExcellentBy Lawrence R. TaylorDr. Salter is one of the best writers alive. Her depth of language usage moves one emotionally and makes the reader a better person for the encounter.2 of 2 people found the following review helpful. Add my voice to those who loved this bookBy P. LasterMary Jo Salter's hardback book sat (with other poetry books) on Hastings' sale table. I'd only heard of her, never read her. The book sat in my own shelf for a year before I pulled it out. Add my voice to those who laud her work. I especially liked "Goodbye, Train." I underlined this phrase from "Musical Chair": "... in a pond now deepening to a shade that looks like bedtime...". Her villanelle, "Refrain" is full of slant rhyme--something more of us should perhaps consider using. Repetition in the "re-" and alliteration in "Inside the Midget" caught my eye, too: "...refurnished, refinished, refined...recognize--..."Alas, I promised it as a door prize for a poetry retreat, but if I ever see another one, it's mine. Highly recommended.0 of 0 people found the following review helpful. Beautiful prose. This depth of emotion is too heavy for every day reading. (At least for me).By K.w.Sorry if my review is super scattered.Bottom line: is she is a good writer.I would give it 5 stars if it wasn't such heavy material (depressing) for me.This may have value to you, however, and you should read it at least nice and judge for yourself. (Read on).So-- This book of poems was a bit heavy for me , .....but still- I recommend everyone take a look at Elegies for Etsuko. I think it is / will become a classic, if it hasn't already. I will never forget it. I love all artists that take a risk to try and make a stab at voicing the pain of losing a friend....of unmasking the cloak that is a suicide. A warning to others as a "Phone Call to the Future", as it were, to realize the pain and finality that death leaves as a trail behind itself. (Not a direct quote, --just my of tieing the title into my review. I'm not sure where in the book lies this expression explicitly, if at all).Elegies for Etsuko- I am so moved by this set of verses to Salter's friend, Etsuko Akai.When her name appears, haltingly, in one of the last of the eight parts, I am jilted to the reality-- This woman, described in the poem--she is, in fact dead. I know it seems obvious , but I guess it was so striking for me because it is the tradition classically to euphemistically dance around the sadness that is someone's death. Instead, she faces it, states it, names it. It's almost awkward to be present for the revelations that are so personal. It is a reflection, nonetheless, of our modern style of everything becoming public. We say it. We are shocking. Nothing is taboo.The taboo is th norm. To be the euphemistic, to cite a norm is the new taboo.But there is the classic sad emotions in this poetry. Like the musings of Keats on his own mortality or Odes to "blank"..Don't misunderstand me to be disparaging this work. I just have so much thought and emotion about it that. I think it has served its purpose , no?...Mary Jo salter. Wow. At first easy to underestimate as simplicity, she has so much to say and feel that it hurts me to read her too much. I recognize too well some of the emotions expressed here.maybe for a person given towards depression, it's less than ideal reading material for me, personally.she has such a gift of mingling modern language and tone with an elegance that belies her own humility in describing life.The author's nakedness is exposed, here, in "Phone Call..." in sharing such honest feelings, musings, broodings-- on losing a friend, a loved one, and on the pain that is inherent to the nagging urge to write, described in "Aubade to Brad".I'll confess I couldn't make it through all of the text because the emotions bared in this volume were too raw for me, personally; Though, I will forever be touched and moved by her humble expressions in "Elegies to Etsuko".Overall, the sadness within the whole book of poems was too dark for me to be able to bear at one setting. I gave my copy away and -- in some respects wishing I still had it to re-read on rare occasion. I Iike being able to empathize with someone else who feels the way that i do sometimes....it minimizes the loneliness of the human experience. Instead, though, I chose to let this gem pass on to the next reader as a donation. I hope they will enjoy the book.Like other dense material of this depth and intensity, I love to visit it from time to time, like an old friend . But I can not, nor should I -- go there too often. Thank you, Ms, Salter for sharing so generously --I hope they have written Etsuko Akai's name in the sky, and that she is remembered always for who she was :) !

This “wholly attractive volume” that brings together twenty-five years of “elegantly shaped and voiced creations” (William Pritchard, The Boston Globe) offers a generous sampling of Mary Jo Salter’s five previous award-winning volumes and a collection of superb new poems. A mid-career retrospective of one of the major poets of her generation.From the Trade Paperback edition.

From Publishers WeeklyCelebrated since the 1980s for her deftly articulate, often wittily rhymed lyric poems, Salter demonstrates those strengths and others in this sixth volume. From the start, Salter's verse can sound urbane and serious, ceremonious and supple: a nine-part elegy for a friend who died young contains a villanelle with the refrain I know you're gone for good. And this is how:/ were you alive, you would have called by now. Other poems react to the death of Salter's mother, to her own experience of parenthood, and to life with her husband, poet and critic Brad Leithauser. Salter may be the most gifted mid-career disciple of James Merrill's work, and her detractors may say she still works in his shadow. Yet her loosely syllabic stanzas owe as much to Marianne Moore, and her best poems stand apart for their careful sensitivity both to works of art and to her own family life, sounding as much herself when sighing, you reach an age when classics// are what you must have read as when she imagines the synchronized operations/ across the neighborhood:/ putting the children to bed;/ laying out clean clothes. (Mar.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. “Only a few poets transcend the history of taste to participate in the history of art–and only in a handful of poems. Salter has been struck by lightning more than once… ‘Another Session’ is, like “Elegies for Etsuko,’ a disorienting work of art.” —James Longenbach, The New York Times Book “Celebrated since the 1980’s for her deftly articulate, often wittily rhymed lyric poems, Salter demonstrates those strengths and others in this sixth volume . . . Salter may be the most gifted mid-career disciple of James Merrill’s work . . . yet her loosely syllabic stanzas owe as much to Marianne Moore, and her best poems stand apart for their careful sensitivity both to works of art and to her own family life.” —Publishers Weekly“Marked by a very conscious sense of craft, Salter’s work is precise and artful, composed with a decided sensitivity toward formal poetic tradition . . . There are no extraordinary events here, just the business of day-to-day living, with its little highs and lows, recounted in poems that are deeply human, brilliantly realized and refreshingly perceptive.” —Julie Hale, Bookpage About the AuthorMary Jo Salter was born in Grand Rapids, Michigan, and grew up in Detroit and Baltimore. She was educated at Harvard and Cambridge and worked as a staff editor at The Atlantic Monthly and as poetry editor of The New Republic. She is also a coeditor of The Norton Anthology of Poetry. In addition to her five previous poetry collections, she is the author of a children’s book, The Moon Comes Home, and is a playwright and lyricist. After many years of teaching at Mount Holyoke College, she is now Professor in The Writing Seminars at Johns Hopkins University. She and her husband, the writer Brad Leithauser, divide their time between Amherst, Massachusetts, and Baltimore, Maryland.

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