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Stephen Gibson's poems are the work of a serious, intent, often appalled tourist. The word might look like a putdown, but his subject is the glamour and horror of history, and when it comes to the past, attentive tourism is the best that any of us can hope for. This tourist's gaze if focused and fascinated, his tone is even and intelligent (as he has it in one poem, "scared in the headlights, but the brain busy nonetheless"), and his technique is all but flawless (unobtrusively so, a true case of art hiding art). Together the gaze, the subjects on which it alights, and the poet's superlative skill add up to poems of astute, moving observation and often overwhelming authority.
-Dick Davis
A propos de l'auteur
Stephen Gibson's seventh collection, Self-Portrait in a Door-Length Mirror (University of Arkansas Press, 2017), won the Miller Williams Poetry Prize, selected by Billy Collins. Earlier collections include The Garden of Earthly Delights: Book of Ghazals (Texas Review Press, 2016); Rorschach Art Too (Story Line Press, 2014; reprint, Red Hen Press Legacy Title, 2021), winner of the Donald Justice Prize; Paradise (University of Arkansas Press, 2011), finalist for the Miller Williams Poetry Prize; Frescoes (Lost Horse Press, 2011), winner of the Idaho Prize for Poetry; Masaccio's Expulsion (Intuit House, 2008), winner of the MARGIE Book Prize; and Rorschach Art (Red Hen Press, 2001). His poems have appeared in such journals as Able Muse, American Arts Quarterly, the American Journal of Poetry, Boulevard, Cimarron Review, Copper Nickel, Court Green, the Evansville Review, EPOCH, Field, the Gettysburg Review, the Hudson Review, the Iowa Review, J Journal, Measure, New England Review, Notre Dame Review, the Paris Review, Pleiades, Ploughshares, Poetry, Prairie Schooner, Quiddity, Raleigh Review, Salamander, the Sewanee Review, Shenandoah, Southern Poetry Review, the Southern Review, the Southwest Review, Upstreet, the Yale Review, and elsewhere.
