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Photo of Robert Gibbons by Joe Schuyler. All rights reserved.



Robert Gibbons Robert Gibbons




Robert Gibbons's first online chapbook of prose poems, Brief History of Erotic Gesture, appeared in Linnaean Street. Three print chapbooks of prose poems were published in fine print limited editions by Mark Olson of Innerer Klang Press (InnererKlang@aol.com), Charlestown, MA: Lover, Is This Exile?, 1989; OF DC, cover design by Robert Rauschenberg, 1992; and This Vanishing Architecture, 2001.
Andrew Wilson, publisher of Gargoyle and Linnaean Street wrote of This Vanishing Architecture: Extraordinary work, extraordinary. Probably the best conceived, most cohesive and resonant prose-poem sequence I have ever read (outside of Rene Char or, maybe, St. John Perse. And Rimbaud, of course — if Illuminations is really a sequence.) Supple dream images, wonderful intertwining with Proust and with the facts of daily life.
Gibbons is contributing editor at Niederngasse , Switzerland, for which he writes a monthly column on subjects ranging from Lorca and Joyce to Man Ray and Alfred Stieglitz. He is featured in an online interview with the editor of Slow Trains, where he discusses his writing routine, literary influences, and other aspects of creative life. His article, “Loving Duras,” appeared in Conspire. A brief memoir on Dylan appeared in Tragos An essay titled, “The Gist,” is forthcoming in the print version of The American Journal of Print.

Other work is published in 2 River; The Adirondack Review; The Dalhousie Review; Evergreen Review; Exquisite Corpse; Frank; Gargoyle; In Posse Review; Jack Magazine; Janus Head; The Literary Review; Recursive Angel; Slow Trains; Small Spiral Notebook; Stirring; and Tatlin's Tower.

Gibbons works at Snell Library, Northeastern University, Boston, and lives south of the city with his wife, Kathleen, also a writer and editor. He says:

Most of my writing for the past two years emanates out of my commute to and from work: car, ferry, walk, subway. Each mode of transportation allows opportunities for language to rise up to meet events at different speeds. For example, the bulk of the poems in This Vanishing Architecture arose from my walk beginning at the waterfront in Boston, through the Financial District, past some of the oldest buildings in the country, to the subway. For those I chose one epigraph in particular from Colette, For anyone not able to dawdle along a pavement and indulge the fortuitous whims and luck of the stroller, there remain only superficial sights. There is always so much to look at when one travels slowly.

The pieces in Time on Water shift vantage point, if not gears. From a high-speed ferry one must be quick to catch eternal events. The reminder, now, of that previous epigraph makes me think I could go to any of the Greeks, Homer, Cavafy, Seferis, and easily find an epigraph to accompany this collection. I just picked up The Collected Poems of Odysseus Elytis, and turned randomly to, I open my mouth and the sea rejoices… that identification of motive, language rising out of an internal desire, (to praise?) seems fitting.


More of Gibbons's poetry in Spring 2002

Winter 2001

Summer 2001

Fall 2000

Winter 2000