“What treasures of knowledge we cluster around.” That This is a collection in three pieces. “Disappearance Approach,” an essay about the sudden death of the author’s husband , begins the book with paintings by Poussin, an autopsy, Sarah Edwards and her sister-in-law Hannah, phantoms, elusive remnants, and snakes. “Frolic Architecture,” the second section — inspired by visits to the vast 18th-century Jonathan Edwards archives at the Beinecke and accompanied by six black-and-white photograms by James Welling — presents hauntingly lovely, oblique text-collages that Howe has twisted, flattened, and snipped into “inscapes of force.” The final section, “That This,” delivers beautiful short squares of verse that might look at home in a hymnal, although their orderly appearance packs startling power:
That this book is a history of
a shadow that is a shadow of Me mystically one in another another another to subserve
“What treasures of knowledge we cluster around.” That This is a collection in three pieces. “Disappearance Approach,” an essay about the sudden death of the author’s husband , begins the book with paintings by Poussin, an autopsy, Sarah Edwards and her sister-in-law Hannah, phantoms, elusive remnants, and snakes. “Frolic Architecture,” the second section — inspired by visits to the vast 18th-century Jonathan Edwards archives at the Beinecke and accompanied by six black-and-white photograms by James Welling — presents hauntingly lovely, oblique text-collages that Howe has twisted, flattened, and snipped into “inscapes of force.” The final section, “That This,” delivers beautiful short squares of verse that might look at home in a hymnal, although their orderly appearance packs startling power:
That this book is a history of
a shadow that is a shadow of Me mystically one in another another another to subserve