Ekphrastic poems broaden and deepen our understanding of their subjects; only the best ones, however, match their visual eloquence. In Hoyt Rogers's marvelous new volume, Heard in Art, time and again, whether addressing works from Titian or Vermeer, Tintoretto, Caravaggio, or Claesz, sublimely, with wild erudition, they do.
Ekphrastic poems broaden and deepen our understanding of their subjects; only the best ones, however, match their visual eloquence. In Hoyt Rogers's marvelous new volume, Heard in Art, time and again, whether addressing works from Titian or Vermeer, Tintoretto, Caravaggio, or Claesz, sublimely, with wild erudition, they do.
Hoyt Rogers has published his fiction and poetry in a wide range of periodicals, including The New England Review, AGNI, and The Fortnightly Review. As a prize-winning translator, editor, and essayist, he has worked with Viking, Knopf, Farrar Straus, Yale, Seagull, and various presses large and small. He has collaborated with Paul Auster, Yves Bonnefoy, Lincoln Kirstein, Philippe Claudel, and many others. He is the author of a poetry collection, Thresholds, the novel Sailing to Noon, and a study of the Late Renaissance.
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