A reading and conversation with poet Richie Hofmann, author of collection The Bronze Arms, and Benjamin A. Saltzman, author of Turning Away: The Poetics of an Ancient Gesture.
Richie Hofmann is the recipient of fellowships from the Guggenheim Foundation and the National Endowment for the Arts. His poetry appears in two previous books, A Hundred Lovers (2022) and Second Empire (2015), and in The Paris Review, The New Yorker, Poetry, The New Republic, and The Yale Review.
Benjamin A. Saltzman is associate professor of English at the University of Chicago, where he coedits the journal Modern Philology. Saltzman is the author of Bonds of Secrecy: Law, Spirituality, and the Literature of Concealment in Early Medieval England and the coeditor of Thinking of the Medieval: Midcentury Intellectuals and the Middle Ages.
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About Turning Away:
A sweeping account of how we are at our most human when we turn away from the pains of the world.
Why do we look away from the suffering of others? Why do we cover our faces in shame? Why do we lower our heads in grief? Few gestures are as universal as the averted gaze. Fewer still are as ambivalent and inscrutable. In this incisive study, Benjamin A. Saltzman reveals how the kaleidoscopic appearance of these gestures in art, poetry, and philosophy has turned them into an essential language for our uncomfortable engagements with the world, challenging us to reflect on the ways we fundamentally relate to others.
Into the horizon of contemporary discourse, Turning Away sets out from five influential scenes in which figures avert their gaze: Timanthes’s Sacrifice of Iphigenia, Plato’s Republic, Augustine’s Confessions, Christ’s Crucifixion, and the Fall and Expulsion of Adam and Eve. The gestures of aversion in these scenes refract across visual media, through philosophy and politics, into modernity and the present day, having been reimagined along the way by thinkers like Hannah Arendt, artists like Marc Chagall and Salvador Dalí, poets like Langston Hughes, and many others. Saltzman offers a timely critique of the privilege of turning away and of the too-easy condemnation of our tendencies to do so.
About The Bronze Arms:
Following his captivating and popular A Hundred Lovers, Hofmann’s new collection is a queer coming-of-age, tinged with myth: poems that bring us into a fever dream of antiquity and desire at its limits
Recognizing the fragility of the body and soul in a world of threat, these startling poems stem from a central boyhood memory—the author’s near-drowning in a swimming pool on Crete. The observant child was troubled that none of the statues he saw had arms—and then it was his father’s arms lifting him from the water, saving his life.
Hofmann balances elegance and brutality as he explores the fables of that childhood as well as the contours of sex and relationships in modern cities, in order to write his own personal history of love and survival: “Masculine arms lifted me. / Masculine arms held me while I slept.” The poems navigate risks, abandonments, and rescues, moving through a series of mazes that become a labyrinth of erotic awakening, with quick turns and dangerous diversions. In poems that alternately sear and crush delicately, we wander the ruins where the self is lost and broken and ultimately reclaimed: at the dark center, in the heart of the past.
A triumphant follow-up to the fetching catalog of lovers in Hofmann’s last book, this collection thrills with its archaeology of self, its notes of austerity and decadence.