Praise for The Nightfields:
“The hushed and meditative poems in this intensely lovely book manage somehow to feel simultaneously old-fashioned and cutting-edge. Amidst the chaotic noise and incessant annoyances of contemporary life, Klink’s poetry carves out a space in which we are reminded what it is like for an individual consciousness to encounter the awesome mysteries of both the outer universe and the inner self.” —The Washington Post, “Best Poetry Collections of 2020”
“What [Klink] hopes for again and again in this expansive, remarkable volume, her fifth, is the ability to see the universe whole.” —The New York Times Book Review
“Whatever we consider authentic “being” to be, poetry can provide a vessel for rejoining it—especially poetry that refuses all but the most direct line to what is essential. This is what Klink accomplishes here in her beautiful fifth book, as she recalls the most elemental and fleeting gifts in our ephemeral lives . . . Klink’s ability to see deeply into things, whether in the made or natural world, is unusual for a poet who mines emotional experience with such relentlessness.” —Kenyon Review
“Klink is a vatic poet, a seer not just of the body but of bodies in relationship to one another, bodies in relation to the natural world, to the universe both inner and outer . . . Perhaps more than any other poet writing today, Joanna Klink is the Romantic poet of our age, and like the great romantic poets, Wordsworth, Keats, Shelley, the narrator of The Nightfields is often walking through her poems, attuned to the silences and quiet murmurings of the world.” —New York Journal of Books
“That grief is proof of love was something I needed to hear every day of 2020, and into 2021, and still and always. I read from The Nightfields most mornings for the vertiginous pleasure of scale, for the sense of intimacy and infinitude, in order to feel my insignificance in the world. Our relative insignificance, our like-it-or-not interconnectedness, Klink reminds us, is not such a bad thing to feel. And besides, it is a fact. Remember: ‘you are the brief errand of what was / given to you in unceasing splendor.’” —Poetry Daily
“Joanna Klink’s The Nightfields has all the visionary lucidity and incisiveness that marks the true originality of her work. The subtlety of what she sees is matched by a language at once hospitable and unsettling. This book has the fluency of someone knowing and finding their way. These are remarkable poems.” —Adam Phillips
“Klink writes with exquisite poignancy, an expansive and stark lyric that has become her signature in this collection. The Nightfieldsreminds us that ‘to want a simple life/might mean/to have given up//on expectation’ yet the collection offers us of the privilege of Klink’s discerning and sometimes ruthless eye on what it means to live from that expectation, to live fully among the wreckage and the triumph.” —Carmen Giménez Smith
“Joanna Klink goes toward poetry with her whole life. To me, she is a landscape poet, who draws more than paints. Her poems contain stars and bone; hope and mercy; meteorology and friendship. Instead of plot, there is subplot, allowing language and feeling to run free. Perhaps there is a spiritual dimension, too, with a pilgrimage through cities and grasslands. In our prosaic age, Klink is a completely original poet—symbolic and vatic—rendering the best poems of her life.” —Henri Cole
Praise for Joanna Klink:
“In a culture inclined to mistake opacity for depth and stridency for passionate feeling, Joanna Klink has made a body of work at once utterly lucid and breathtakingly urgent. She navigates between those most suspicious extremes, despair and ecstasy, without ever seeming to be a poet dependent on extremes. Taken together, her books are an amazing experience: harrowing, ravishing, essential, unstoppable.” —Louise Glück, American Academy of Arts and Letters Award citation
“[Klink’s] poems illuminate the membrane between loneliness and solitude.” —Terrance Hayes, author of American Sonnets for My Past and Future Assassin
“Klink writes love poems to nature . . . Walt Whitman might find something to envy in the way Klink’s more gentle sense of song tumbles out of simple, individual acts of attention.” —Chicago Tribune
“[Klink’s] work is a record not only of the ecstasy of engagement with the natural world, but also of the mixed and passionately felt consequences of detachment from a noisier, more chaotic world.” —Boston Review
