Bøker av Anne Babson

The Bunker Book is a work of poetry by Anne Babson that revisits medieval plague tales in an era of American pandemic and French Resistance literature in a divided nation. Set in New Orleans and other cosmopolitan destinations, it presents the problems of Kyiv, of the Second World War, and all fights against fascism as a way of talking about America today. This poetry collection makes the new cosmopolitan South confront the ghosts of the old problematic South and exorcise them. While it occasionally echoes sentiments present in Atwood's work, it offers hope to the reader despite all. Focused on the life of a woman who hides herself and the books banned in an oppressive society in a bunker, her library comes to life and speaks to her in the voices of figures like Machiavelli, the Wife of Bath, Marlene Dietrich, Margery Kempe, Rhett Butler, Saint Thomas Moore, and Christine de Pisan. It contemplates the cloistered life of pandemic and religious medieval women mystics in one idiom. It imagines the underground resistance of Paris during the Nazi occupation reenacted in our times in an American setting.Works as old as Beowulf find themselves enacted on the banks of the Mississippi, and poems as present-tense as the latest headlines about the war in Ukraine also find a home on Tchoupitoulas Street in New Orleans.The Bunker Book calls the reader to hope despite reasons to despair, to overcome fear and to fight the forces that would silence artists and political dissidents everywhere. Anyone feeling frustrated with our times might take solace and encouragement from these defiant and hopeful words.

MESSIAH, a post-modern bop through our culture set in diverse elements of the American landscape- from a Manhattan subway station, to mills of rural Louisiana, to the mean streets of Detroit, to the wilds of the American Northwest, to Yankee Stadium, to the hills of Bellaire - writes back to the Bible passages with which Handel composed his Messiah Oratorio without challenging their theological meaning but setting them, as most sacred art does, in the contemporary. Anne Babson's poetry isn't "churchy," but it is replete with passionate exhortation, delighting in Americans in their imperfections and calling for a subversive conspiracy of love and a new era of compassion. The book is set to a soundtrack of American music, where the rapture trumpet is blown by Louis Armstrong, where the angels sing in doo-wop chorus, and where Handel's "Chorus: Hallelujah" turns into a Southern Rock anthem. The work is about us and our needs, our playlist, our delights, and the possibility of radical forgiveness and a return to hope.

Polite Occasions writes back both to Revelation and Emily Post because it imagines the future is female, that she is a lady, and if the human race Is to survive what evangelical Christians call "end times," it will be because ladies have decided to make unladylike plans. This collection is largely set in a dystopian near-future world where political structures have become authoritarian and many feel spiritually adrift, all while most people pretend not to notice. It examines the ways in which silence renders people complicit with oppression in all its forms. It earnestly explores faith through doubt and disappointment. It might even be called a Christian poetry collection, though it is surely one that some right-wing Christians would like to burn. It is an unapologetically feminist work as well, one that understands that the oppression of women often gets enacted in the name of false gods. The poems of this collection speak their exhortations to the reader in both formal and free verse in a high vernacular that considers contemporary life in reference to much older texts. Some of the works of this collection have won prizes, and many have been published in journals in North America, Europe, and Asia. The collection stands as a warning to both the faithful and faithless that we live in an era where we might fall under an Orwellian regime infused with religious language and that democracy might fall while we take selfies.