Blas Falconer is the author of A Question of Gravity and Light
(University of Arizona Press, 2007), and The Perfect Hour (Pleasure Boat Studio: A
Literary Press, 2006). He is also a co-editor for The Other Latin@: Writing Against a
Singular Identity (University of Arizona Press, 2011), and Mentor & Muse: Essays from
Poets to Poets (Southern Illinois University Press, 2010).
An associate professor at Austin Peay State University,
he serves as the coordinator of the Creative Writing Program and the poetry
editor of Zone 3 Magazine/Zone 3 Press. In January of 2012, Falconer
also began teaching for the low-residency MFA program at Murray State
University.
Falconer’s awards include a 2011 National Endowment for
the Arts Fellowship, the Maureen Egen Writers Exchange Award from Poets
& Writers, a Tennessee Individual Artist Grant, the New Delta Review
Eyster Prize for Poetry, and the Barthelme Fellowship.
Born and raised in Virginia, Falconer earned an M.F.A.
from the University of Maryland (1997), and a Ph.D. in Creative Writing and
Literature from the University of Houston (2002). He currently lives in
Nashville, Tennessee with his family.
Falconer’s newest
book is the poetry collection, The Foundling Wheel (Four Way
Books, 2012). The publisher describes
the collection: “Centered on the adoption of Blas Falconer's son, The Foundling Wheel creates an emotional
mosaic that explores the decision to become a parent. In ‘The Annunciation,’
Falconer imagines Gabriel’s visitation: ‘Faith, he might have said, / as the
cells of disbelief began to multiply: a son/ who'd face great pain? Certain
death?’ The book begins as the desire to have a child is first realized, and
while it certainly rejoices in the bond between father and son—‘my body, tuned
/ to hear you cry before you cry, stirs’—it also grapples with fears that
accompany parenthood, loss of the former self, and the transformation from
manhood into fatherhood.”
Praise for The Foundling Wheel:
“The pastoral is
the lyric of a landscape. Blas Falconer's landscapes—and the people he places
in them—elevate the pastoral to a level where the music has the force of an
idea, in a language at once symbolic and probic. His ‘Field Marks for Birds,’
his ‘Warm Day in Winter,’ his ‘Bluffs of Pico Duarte’ become interiors of
association and moral conviction, and the book they appear in, The Foundling Wheel, a force in itself.”
—Stanley Plumly
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