Translations of the Gospel Back into Tongues

By C. D. Wright

Paperback : 9780873956857, 90 pages, June 1983
Hardcover : 9780873956529, 90 pages, June 1983

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Table of contents

True Accounts From The Imaginary War
1. Pontoons
2. Drift
3. Two Accounts From The Imaginary War
4. Two Women Sleeping On A Stone
5. Foretold
6. Bad Grounds
7. Falling Beasts
8. Tours
9. Deep Rivers
10. Fields
11. The Beautiful Urinals Of Paris

The Secret Life Of Musical Instruments
12. Bent Tones
13. Run For The Roses
14. Crescendo
15. The Substitute Bassist
16. Alla Breve Loving
17. Jazz Impressions In The Garden
18. The Secret Life Of Musical Instruments
19. Libretto
20. Listening To A Brown-Eyed Man Play It For Someone Else

from Livelihoods Of Freaks And Poets Of The Western World
21. Livelihoods Of Freaks And Poets Of The Western World
22. Blazes
23. Yellow Dresses
24. Landlocked, Fallen, Unsung
25. Obedience Of The Corpse
26. Clockmaker With Bad Eyes
27. Who Sit Watch In Daylight
28. Boss Of Darkness
29. Fascination
30. The Night Before The Sentence Is Carried Out
31. Smoke Rings
32. Wanderer In His Thirtieth Year
33. Vanish
34. White Shutters
35. Water, Blood, And Desire


"CD Wright's is a poetry of Southern mountain vision brought to the streets in a language of brilliant synaesthesia, colloquial warmth and laconic wit. These are unpredictable poems of jazz, dreams, domestic violence and 'what is written on mirrors in Louisville. ' The territory is uniquely Wright's, but borders that of James Agee and Diane Arbus: common, strange and filled with risk. Throughout these poems there is a saxophone playing and a poignant voice making sense. " — Carolyn Forché

"Images rise from these poems like startled birds flushed from the field. What we have is the courage of a writer with and against the sad voices, and that original language of a faith in faith. This is the fluent reverie, a long drug of feeling, taking us to places and things seen clearly and with grace. " — Norman Dubie

"The dramatic and emotional vitality of CD Wright's language, the authenticity and daring of her tone and speech, make her poems, one after the other, surprising, outrageous, exciting, moving, funny. She incorporates naturally the bitterness, loneliness and humor of the world and tradition of the blues—passionate, disappointed, violent, awry. Her voice and her talent are genuine and unmistakable. They give heart. " — W. S. Merwin