Download PDF by Galway Kinnell: Black Light: A Novel (Revised edition)

By Galway Kinnell

ISBN-10: 1619026597

ISBN-13: 9781619026599

Contributor note: later on by means of Robert Hass
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Black Light is a voyage of discovery and transformation. Set in Iran, it tells the tale of Jamshid, a quiet easy carpet mender, who someday all of sudden commits a homicide and is compelled to escape. With this violent act his previous lifestyles ends and an odd new lifestyles begins.

Galway Kinnell combines his present for detailed imagery with a storyteller's ability during this trip around the Iranian desert—away from the delicate self-righteous virtues of followed ethical culture, into the affliction and sexual confusion of agonizing self-knowledge.

First released in 1966 via Houghton Mifflin, this widely revised paperback version of Black Light brings a uncommon novel again into print

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Additional resources for Black Light: A Novel (Revised edition)

Sample text

I too was part of the scene And did not know its placement besides 28 reasoning of sea Now mid-ocean you were lighter Blind to the grain on shore Then rooting into the present eroding By the sea of the air They cry the river you are looking into And cry the experience laid aside The time part and as background clear Flickering up when she turned to you Then the bag is everywhere And looking freed by tree line As on the hill I overlooked the night That was next in the equinox The thing in and against itself Frozen branches cluster Water vanishing their insides Selfless breathing closer the heather Which fades to her Again the obsequies Washing up or arriving The car packed in the drive 29 An open door on its hinges You in the grief of eternal joy In a corner on sand Collapsing in an outside landscape White trees still far And exhaustion in the winter forest Standing distrustfully In that off to one side quiet rape Travel carried out To its gelid cresting tallies So that stopping under stars I sleep in groved unwillingness Where blind to the grain And what we thought we scattered The otter tests the soil And what we scattered drowning 30 figure Then [the object] as retreat among ten or twelve yards my hands heavy [lift] Shadow positing the thing as a way of stopping [use] Will I mean for?

What I “know” comes in and shuts 33 As we have to have—the beginning—of the line [the plane in another language finding back] What if I stood in a building [between “disciplines”] Up to now we’ve been talking about photographs which are in existence—[which you choose] Now let’s talk about photographs which are not in existence We will have to talk about all of them [“this” as the only human interaction] First there is the photograph The bag of peas and potatoes falls flatly on the floor of the—lift [but suddenly through a graph] 34 DS You prefer to FB Totally alone.

Nothing new is [happening]. What I 32 can’t say about the bullet, the grass silvering as it’s posited [there are sides] [burgeoning] [back down] Photography becomes social because we can’t kill anything Also not seeing herself also showing her the photograph You see, she’s moving back [then the—still—being left] [we see or we know by then] to feel myself rising but I want to feel—the other going down—I cannot feel down for the other. I cannot feel “observe” for the other I can only observe the other [it used to be]—I would have to begin as the object.

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Black Light: A Novel (Revised edition) by Galway Kinnell


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