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THE LUG OF DAYS TO COME
THE LONG-AWAITED COLLECTION WHOSE DAY HAS COME
"Daniel Haberman is tall, clean-shaven and
hairy, smells of pipe smoking and dreams--he is every inch the
poet, talking of the heart's unchanging eloquence and poetry
as the telling of old truths.He is not what is called here 'a
dinner table poet.' He is not a celebrity, has never been reviewed
by the Times, has never met the men from the New York Review
of Books. No one has asked him to join the glitterati at
the Institute for the Humanities. 'It's nice to be left alone,'
he says, 'but I do want to be listened to.'"
--Linda Blandford, "American
Diary," The Guardian
Daniel Haberman (1933-1991) may not have been a celebrity
in 1984 when the above profile was written, but he was certainly
listened to. As a poet, he commanded the admiration and respect
of some of his most important colleagues, including Robert Penn
Warren, Edward Dahlberg (whom he considered his mentor), J.V.
Cunningham, Richard Wilbur, and Guy Davenport.
The Lug of Days to Come, a retrospective collection
of Haberman's finest poems and translations, with a foreword
by Guy Davenport and etchings by Jan Stussy, is an important
addition to the bookshelf of anyone interested in American poetry.
Haberman's contribution to the world of poetry is also significant
in a social and historic sense: in 1983 he created America's
Poets' Corner in the Cathedral of St. John the Divine in New
York. This institution celebrates America's literary heritage,
and celebrates literature itself, and the art and joy of writing--and
reading--poetry. Needless to say, the value of such an institution
has grown since its inception, in this world and society where
literacy and writing are on the decline. We must thank Daniel
Haberman for every young poet who has found inspiration within
the walls of America's Poets' Corner.
But to appreciate (and enjoy) Daniel Haberman's legacy fully,
we must return to his poetry itself. His poems and translations
reveal a writer obsessed with solitude and relationship, which
he expressed with a balance of humor and poignancy. He wrote
with reverence for formal structure (meter, rhyme, and near-rhyme),
yet he stretched the limits of form. He was also inventive with
language, using at every opportunity a surprising yet perfectly
chosen word. As Richard Wilbur says, "Daniel Haberman's
poems issue from a deep subjectivity which cannot utter itself
in any standard idiom; they are full of strange locutions and
of words curiously employed.In his best work the result can be
a dark simplicity, a mysterious lyricism reminscent of Blake."
"All that we can ask of any poet," wrote Guy Davenport
in the foreword to this book, "is that he be master of his
craft (all else is grace and genius); of Haberman's mastery there
is no doubt. Grace abounds, and in a phrase here, a perfect rhythm
there, in a delightful surprising pattern of words, there is
the flash of genius."

About the Poet: Daniel Haberman was born in New York
City in 1933. He attended the Walden School, Carnegie-Mellon
University, and the graduate school of New York University. He
was educated in the secondhand book shops of Manhattan, and by
two years of study with Edward Dahlberg. In 1983 he was asked
to create America's Poets' Corner at the Cathedral of St. John
the Divine and became the Cathedral's first Poet in Residence.
In 1988, he and his wife, pianist Barbara Nissman, left New York
to live on a farm in the Allegheny Mountains of West Virginia;
but he continued to serve as an elector to the Poets' Corner
until his death in 1991.
Praise for the poetry of Daniel Haberman
"Daniel Haberman has the rare gift of the subtle use
of language." --Edward Dahlberg
"brilliance of phrase and vitality of rhythm." --Robert
Penn Warren
"An unusual combination of strength and charm,a poetry
that seems at once familiar and exotic." --Anthony Hecht
"Daniel Haberman's poems are delicate, sensitive, and
intelligent." --Howard Nemerov
"When Haberman writes on these themes in his own deliberately
crafted stanzas, he is maintaining a tradition and working within
modes of expression and feelings that remain vital and life-enhancing
to this day." --Seamus Heaney
"Daniel Haberman has a restraint and care for craftsmanship
which is very welcome these days." --John Heath-Stubbs
"The translations from Greek lyric are particularly fine."
--Rachel Hadas
"All readers who enjoy lyric, singing verse that can
touch the heart will enjoy and be exhilarated by these poems."
--James Schuyler
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