Imagen del editor
Título: Working Girl Can't Win and Other Poems (...
Editorial: Random House, New York
Año de publicación: 1998
Condición del libro: Fine+
Condición de la sobrecubierta: As New
Edición: 1st Edition.
Author signed presentation on title page, very minor shelf wear to lower edge of boards, else an attractive, like new copy. 61 pp. (previous owners name).; Always Delivery Confirmation. 35 Years Fast Excellent Service. We Know How To Pack Books. N° de ref. de la librería 67758
Sinopsis: Deborah Garrison, whose work as an editor and writer has enlivened the pages of The New Yorker for more than a decade, evokes the characters and events of her everyday life with intense feeling and, more important, conjures up the universal dilemmas and pleasures of a young woman trying to come to terms with love and work.
From the Trade Paperback edition.
Every couple of years, some unlucky soul gets designated as the Poet for People Who Hate Poetry, and now it seems to be Deborah Garrison's turn. It's easy to see why: she gets the voice of the late 20th-century New Yorker to perfection, in all its kvetchy, melancholic glory. At times it's like hearing George Costanza channeling Emily Dickinson:
I'm never going to sleep
with Martin Amis
or anyone famous.
Garrison also tends to sidestep metaphysics in favor of more accessible subject matter. That means love (mostly unrequited) and work (mostly unbearable, particularly for a working girl in a testosterone-driven office, wearied by the appearance of yet "another alpha male-- / a man's man, a dealmaker"). No wonder Garrison seems so appealing. And no wonder her publisher has capitalized on this appeal by packaging her book in such a sleek, chic jacket. It would be a mistake, however, to write her off as one more neurotic light versifier. Her metaphoric agility can take you by surprise: note the Atlantic breeze coming "up out of the surf / like a dog gone swimming, / slagging sand and spray every which way / and making the news unreadable." So, too, can the note of resignation that undergirds so many of Garrison's vignettes-in-verse, giving even her most featherweight performances an odd, unchic intensity.
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