A poignant and terse vision of New York City unfolds in Rowan Ricardo Phillips’s debut book of poetry. A work of rare beauty and lyric grace, The Ground is an entire world, drawn and revealed through contemplation of the post-9/11 landscape. With musicality and precision of thought, Phillips’s poems limn the troubadour’s journey in an increasingly surreal modern world. The origin of mankind, the origin of the self, the self’s development in the sensuous world, and—in both a literal and figurative sense—the end of all things sing through Phillips’s supple and idiosyncratic poems. The poet’s subtle formal sophistication—somewhere between flair and restraint—and sense of lyric possibility bring together the hard glint of the contemporary world and the eroded permanence of the archaic one through remixes, underground sessions, Spenserian stanzas, myths and revamped translations. These are poems of fiery intelligence, inescapable music and metaphysical splendor that concern themselves with lived life and the life of the imagination—both equally vivid and true—as they lay the framework for Phillips’s meditations on our connection to and estrangement from the natural world.
"Phillips's acute sense of the poet as an outsider—one who writes from what is essentially a position of critique—is an integral part of The Ground. The book is grounded not only on a brilliant sense of what the art of American poetry is today, but also on dazzling, totally original combination of language and form, geography and autobiography, history, myth, and religion . . . A truly extraordinary book, the best first book by an America poet I've read in years."—Lawrence Joseph, Commonweal “Rowan Ricardo Philips, with his first book The Ground, proves to be a master of the art. He can be visceral; he can be ethereal; he is original. All this comes from the collective power of knowing his literary antecedents and using this to find his own identity. As he finds his, we find ours because poetry articulates our needs and saves our losses. The creative life has to do with freedom but it also has to do with mechanisms. Rowan Ricardo Philips has his hand on poetic form surely but lightly and this is something that cannot be taught. His risks with the unknown (that come from knowing) coincide with respect for the past. The result is experimentation with graphic clarity.”—Grace Cavalieri, The Washington Independent Review of Books“Rowan Ricardo Phillips’ debut collection The Ground marks the arrival of a virtuoso poetic voice. From New York in the often surreal aftermath of 9/11, to the deep underworlds of ancient mythology, to the trans-continental heritage and childhood of Phillips himself, these are poems with a restless agility that make the terrain beneath your feet more mysterious.”—Granta"I don't want to say that The Ground, the debut collection of poetry from Rowan Ricardo Phillips, is about 9/11, but it is hard to say that the book is about anything else. The cover image is of a TriBeCa street, and though it looks irenic in a golden light, ten years ago it was just paces from a smoldering graveyard. The title is suggestive, too—Ground Zero, sacred ground, the ground upon which the Twin Towers fell, the ground where so many are buried . . . 'Love the place that welcomed you,' he writes in a poem called 'Tonight.; That love is evident throughout The Ground."—Alexander Nazaryan, The Daily News "And then there are the poems themselves: nimble with woe, playful but sad and nearly every one of them about the city in which Phillips was born. ‘I had become/The injurer who makes things golden,’ writes Rowan Ricardo Phillips in this elegant debut collection. His is a world steeped in history and myth, both classical and urban, and his voice is almost exotic in its marriage of the formal with the demotic. Though Orpheus, Apollo, Eurydice inhabit these poems, the most prominent presence is the spirit of New York—its gold and mist and din, its injury, its beauty."—Lucie Brock-Broido“The Ground is a strong achievement that will secure Rowan Ricardo Phillips a place on the map of American poetry. Like all good poets, he writes from a zone of his own creation, mixing the traditions of his West Indian ancestry with American poetry. His poems have a calm, metaphysical colloquialism with tragedy at their center. Love, death, and human frailty may yoke us to violence, but Phillips is interested—like Emerson—in the idea of survival. He is a hopeful poet, a rising star.”—Henri Cole“The ground in Rowan Ricardo Phillips’s debut collection is constantly shifting, highly unstable. It is Ground Zero, Tribeca, Harlem, the West Indies, and Barcelona, among other places; it is physical and metaphysical, geographical, metaphorical, and, at times, mythical. Phillips’s aesthetic locations, his acknowledged and perceivable influences, are equally multifarious. The poems in The Ground carry the authoritative descriptions and rhythms of Walcott, the philosophical and symbolic flights of Stevens, the subtle humor and cosmopolitanism of Dove, but in a language whose musical blend of the contemporary and the timeless is all Phillips’s own. These poems assert cycles—they repeat, recur, and return—but where we end up is not where we started. They give us ‘where there once was / Ground a sound instead to stand on.’”—Evie Shockley“Phillips is one of the blessed few who writes about a place as if he were writing about a lover. He does not present readers with a romanticized Big Apple or a postmodern vision of a dystopian megalopolis; instead, he affords the beautiful and the ugly equal attention, knowing that an intimate connection to place requires one to honor all aspects of it. One of this collection’s most remarkable facets is Phillips’s treatment of New York as a setting rather than a subject. Using a surreal line infused with music, he makes New York a force of nature, as impossible to ignore as the weather.”—Chris Pusateri, Library Journal“This lyrical and richly allusive debut is in large part a meditative elegy for New York City in the aftermath of the September 11 attacks, but it’s also restitution for losses the city has endured. ‘I plugged my poem into a manhole cover,’ begins 'Terra Incognita,' ‘and made from where there once was/Ground a sound instead to stand on.’ . . . much of the book’s brilliance derives from gleeful bounding through literary history (echoes of Stevens are particularly audible) into a successful pastiche of scholarly erudition and pop culture carnivalesque. 'Purgatorio, XXVI: 135–148' slides from standard English that recalls Dante’s tercets into Bob Marley’s Rasta argot . . . "Apocalypse with Sasquatch" imagines a ruined metropolis in language redolent of Milton and in which a yeti speaks ‘from the last penthouse window/Of the crumbling co-op facing flowering Abingdon Square.’ When the poems leave New York for other cities—St. Petersburg, Stockholm, Barcelona—they slow and breathe more quietly, as if liberated.”—Publishers Weekly
Rowan Ricardo Phillips is the author of When Blackness Rhymes with Blackness and has also translated the poetry and prose of many Catalan-language writers. He lives in New York City and Barcelona.