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      <image:loc>https://images.squarespace-cdn.com/content/v1/604a396ee3a98a1b65e4c1e1/1615612484811-060D6FSB893FWTRPQBL6/ralph+beyond+baroque%2C+david+st.+john+tribute+reading.jpeg</image:loc>
      <image:title>About</image:title>
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      <image:title>About</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/604a396ee3a98a1b65e4c1e1/1615743608252-Q8U0ODNOBIQ9ZZNMA4DY/ralph+4.JPG</image:loc>
      <image:title>About - Ralph Angel, a second-generation American of Sephardic Jewish descent, was born in Seattle, Washington, in 1951.</image:title>
      <image:caption>He attended inner-city public schools there, and, while working freight trains for the Union Pacific Railroad, earned his Bachelor of Arts degree at the University of Washington. He received a Master of Fine Arts degree at the University of California, Irvine. He went on to become the Edith R. White Distinguished Professor at the University of Redlands, where he shaped the Creative Writing Department and taught for 39 years. He was also a beloved member of the MFA in Writing faculty at Vermont College of Fine Arts. Angel traveled widely in Europe, North Africa, and Central and South America. He commented in the “Afterword” to his translation of the Federico García Lorca collection, Poema del cante jondo: “I come from a household of three languages—Ladino, Hebrew, and English— one that I could understand but not speak, one that I could sing but not understand, and one that is the language of my country, at some distance, always, from my home.” When he came to translate Lorca’s poetry, he noted that he was familiar with the music that the poems paid homage to: “It resembled the incantatory medieval singing of the Sephardic synagogue that I grew up in.” Angel’s spare lyrics are set in an urban landscape that seems timeless, universal, and historical. In his 1996 Los Angeles Times review of Neither World (Miami University Press, 1995) Mark Doty stated: "The Los Angeles that Angel's poetry occupies and creates is never named, and for good reason, since it is not local but broadly American, a version of the psychological landscape of any American city today." Angel’s work has been lauded for its extraordinary abstract lyricism and wry philosophical wisdom. It also has been noted that his collections differ dramatically from one another, about which he has stated: “Poetry is the language for which we have no language. Given that I have only two tools—the language in which I compose and the fact of my reality—it’s my job to find the language that enacts the fact of my reality. If my poems have changed and evolved over the years, they are testimony to how my life and orientation to language have changed and evolved. It’s my job to make immediacy and presence possible.” His first collection, Anxious Latitudes (Wesleyan University Press, 1986), was widely praised and reviewed. His second book, Neither World (Miami University Press, 1995), which received the James Laughlin Award of the Academy of American Poets, garnered him national prominence. A third work, Twice Removed (Sarabande Books, 2001), was nominated for the Los Angeles Times Book Award, and was a finalist for the Washington State Book Award. His fourth collection, Exceptions, and Melancholies: Poems 1986-2006 (Sarabande Books, 2006), was honored with the 2007 PEN USA Award for Poetry. His most recent collection, Your Moon (New Issues Poetry and Prose) was awarded the 2013 Green Rose Poetry Prize. And his translation of the Federico García Lorca collection, Poema del cante jondo / Poem of the Deep Song, received a Willis Barnstone Poetry Translation Prize. His poems have appeared in scores of magazines, both here and abroad, and have been collected in numerous anthologies, including The Plume Anthology of Poetry, Pratik International, The Heart's Many Doors, The Best American Poetry, American Hybrid, Poets of the New Century, and Forgotten Language. Other recent literary awards include a gift from the Elgin Cox Trust, a Pushcart Prize, the Gertrude Stein Award, a Fulbright Foundation fellowship, and the Bess Hokin Award of the Modern Poetry Association. Following a brief illness, Ralph Angel passed away on March 6, 2020, with his wife Mary by his side.</image:caption>
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      <image:title>About - Awards &amp; Honors</image:title>
      <image:caption>Green Rose Poetry Prize, New Issues Poetry and Prose, 2013 PEN USA Poetry Award, PEN, 2007 Gertrude Stein Award, Sun &amp; Moon Press, 2006 Elgin Cox Trust Literary Arts Gift, 2005-06 Poet in Residence, The Poet’s House, Falcarragh, Ireland, 2004, 2002 Willis Barnstone Poetry Translation Prize, 2003 Poet in Residence, Fundacíon Valparaiso, Mojacar, Spain, 1999 James Laughlin Award, Academy of American Poets, 1995 Pushcart Prize, 1995 Fulbright Foundation Fellowship, Slovenia, 1992-93 Bess Hokin Prize, Modern Language Association, 1988</image:caption>
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      <image:title>Press - Ralph Angel Interview with Dustin Leavitt and Andy Burgess from the book entropia</image:title>
      <image:caption>Early 2019 Dustin: To what extent in making these visual objects are you directly involved and to what extent is the medium doing the work? Because it’s almost as if... through the manipulations in the dark, without the ability to see, and with no revision at the end... you’ve summoned some sort of dark magic that exceeds what you intentionally contribute as an artist. Ralph: I think what you’re talking about has a whole lot to do with the making of poems, and even for me, the making of a lecture. I’m a lyric poet. I’m not telling a story. I’m not interested in the story of my life. I’m interested in the fact of my reality. For me, the discipline I’ve learned and that I practice day in and day out, is to be present in the moment.</image:caption>
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      <image:title>Press - Ralph Angel Interviewed by John Pursley III Burnside Review</image:title>
      <image:caption>January 21, 2014 John Pursley III: Before we begin talking about the poems in your new book Your Moon, winner of the 2013 Green Rose Prize (forthcoming from New Issues Press: Spring 2014), I was hoping you might reflect a bit upon the your career as a poet. In 2006 Sarabande Books published Exceptions and Melancholies: Poems 1986-2006, a book of selected poems which spans two decades of your writing life. Putting this book together must have been challenging in a number of ways, but I wonder if putting the book together forced you to evaluate your place in American poetry, and if so what were some of your conclusions? Ralph Angel: No, I was just working away, making the greater assemblage of the book. The title, the selections, the new poems were a given somehow, and the tracking of the selected poems was essential this time around; tracking had a lot to do with Exceptions and Melancholies.</image:caption>
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      <image:title>Press - An Interview with Ralph Angel – by Lawrence Sutin &amp; Susan Solomon; Water - Stone Review</image:title>
      <image:caption>March 15, 2013 SOLOMON: When I first read the poem 'There was a Silence,' I didn't understand it. I probably still don't understand it. I was stunned by that poem and don't think it matters that I didn't understand it. As a reader, I think I connect to it beyond understanding. I once read an essay by the poet Reginald Shepherd, who said that he didn't understand some of his favorite poems, either. So that's what I'd like to ask you about: the understanding of the poem. ANGEL: There are different kinds and levels of understanding. We can come to understanding in a cognitive, rational, linear way, and we can come to an understanding in an ineffable, permanently mysterious way. We understand things in our minds - we understand things in our hearts. There are times when I understand things in my knees. And I trust all those layers and kinds of understanding, it seems to me. I hope that helps.</image:caption>
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      <image:title>Press - Angelic Orders: The Work of Ralph Angel – by Jack Myers; The Chronicle</image:title>
      <image:caption>September 2008 On the occasion of Sarabande Books' simultaneously publishing two of Ralph Angel's latest volumes, Exceptions and Melancholies: Poems 1986-2006 and his translation of Federico Garcia Lorca's early volume, Poem of the Deep Song, I thought, as a partisan apologist for his brilliant work, and in order that it might be read more widely and appreciated, that I would scatter-shoot through his poetry to explain why, as elegant and original as its style is, its understated and deflecting qualities may make the work seem at first elusive and difficult.</image:caption>
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