Country of Lost Sons, The: Poems
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About this ebook
Jeffrey Thomson
Jeffrey Thomson is a poet, memoirist, translator, and editor, and is the author of multiple books including the memoir fragile, The Belfast Notebooks, The Complete Poems of Catullus, and the edited collection From the Fishouse. Alice James Books published Half/Life: New & Selected Poems in October 2019. He has been an NEA Fellow, the Fulbright Distinguished Scholar in Creative Writing at the Seamus Heaney Poetry Centre at Queen’s University Belfast, and the Hodson Trust-John Carter Brown Fellow at Brown University. He is currently professor of creative writing at the University of Maine Farmington.
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Country of Lost Sons, The - Jeffrey Thomson
Acknowledgments
Grateful acknowledgment is made to the editors of the following magazines in which these poems first appeared, or are forthcoming, some in slightly different form:
Crab Creek Review, Paris
Flint Hills Review, Tables
Ginko Tree Review, Desire
(as My Own Desire
)
Natural Bridge, The Lastica, Kosovo section of Goodnight Nobody
(as Lastica, Kosovo
) and The Country of Lost Sons
New Delta Review, Goodnight Nobody
(sequence)
Pittsburgh Post-Gazette, Terrible Gestures
Puerto del Sol, Elegy for the Living in Early Spring
and Plato’s Expulsion
Southeast Review, Narrative
and "Bu Topraklar Bizimdi: A Message from Lefkosa"
Willow Springs, The Coffeehouse War
(as Postscript
)
Temptation
won the Master’s Poetry Contest, 2002.
I am indebted to a number of people without whose help and support this book would never have occurred. Gratitude is due to Sherod Santos, Lynne McMahon, Tony Deaton, Penelope Pelizzon, Andrew Hudgins, Terri Witek, Anna Catone, Alan Shapiro, Robert Hass, Mary Jo Salter, and Terrance Hayes for their time, their friendship, and their invaluable assistance and expert critique. But, as always, the most well-deserved thanks is reserved for Jennifer Anne.
—Jeffrey Thomson
Narrative
—for Andrew Hudgins
Because it all begins with story,
the telling around the fire tearing
itself free from wood’s fingerprint,
the book open on the table beside
a pitcher quivered with Calla lilies
or a fragrant spray of Carolina jasmine
whose honey is said to poison bees,
perhaps I should begin with the U-boat cook
opening his ration box of socks
late in the war. These socks, charcoal,
delicate as shadows in his hands,
made from human hair. He slips
them over his rotten feet and flits
through the ringing narrows, the tunnel
of air he travels with and through.
Or because all narrative is about
the self, personal and florid,
maybe I should begin with the