David Keplinger is the author of three books of poetry, most recently The Clearing (2005) and The Prayers of Others (New Issues, 2006), which won the 2007 Colorado Book Award.He is the recipient of an NEA fellowship, grants from the Pennsylvania Council on the Arts and the SOROS Foundation, and the T.S. Eliot Prize. In 2011 BOA, Ltd. published House Inspections, his translations of Danish poet Carsten René Nielsen, and in 2007 World Cut out with Crooked Scissors, Nielsen’s selected poems, appeared from New Issues Press.Keplinger directs the MFA program in Creative Writing at American University in Washington, D.C.
Also by David Keplinger
The Most Natural Thing
The Most Natural Thing
Praise for The Most Natural Thing:
"...somehow this clever magical poet’s fervor brings to the page a splendor of humanism— the extension of wit, delight and cynicism. He’s at the top of the heap of the originals. When I finished reading, I said what would become of us without them."
"These poems are strongly rooted in human experience, each like a pulsing body. Read the pieces again and you’ll be surprised what powerful images were hiding the first time around."
"...it’s evocative and haunting, a meditation on memory and the body and desire."
Praise for David Keplinger:
These poems enshrine the transcendental moment, but do so with a freshness of vision, by tracing its peripheries, by aiming for the undiscovered magic in scenes we’d normally overlook.
The question is less whether Keplinger benefits from the prose poem than whether prose poetry benefits from Keplinger—a question The Prayers of Others answers with a resounding yes.
Imagine The Inferno reconfigured as a cross between one of Joseph Cornell’s boxes and a Rube Goldberg drawing: an infernal machine designed to produce the uncomfortable pleasures of wit’s disjunctions, gallows humor, wry nostalgias. And imagine that the guide’s voice has not yet outgrown or outworn the point of view, precocious and remarkably well read and almost always surprising, of a stranger in a stranger adult land whose consequences and mortalities can just be held at a distance, sympathetic or amused, as Dante’s mortal vision keeps the damned in their place…What’s consistent is the sustained invention of a tinkerer who takes his materials (so many of them fragile, easily discarded or mislaid) to heart even as he finds his humor, his consolation in the spirited play of their arrangements.