Oh, Lord, the middle class is so damned dull.
I am sure you have heard this all before,
And so far as I can tell it’s largely true.
But it is fun to be so bourgeois, full
Of all reliable means and much more
That is deserved once you have paid your due.
We enjoy screens wider than SUVs,
Pools like dots of detergent from the sky,
As sprinklers skitter like crickets on lawns.
But what would you prefer to all of these
Suburbs? We can’t ride to hounds or just fly
Off whenever we like to our own islands.
And we can’t go back to what came before,
Ten to a room, half sleeping on the floor.

Publisher’s Announcement

Calculated to reflect the sixty minutes in an hour of heightened imaginative contemplation, the poems in Ernest Hilbert’s first book, Sixty Sonnets, contain memories of violence, historical episodes, humorous reflections, quiet despair, violent discord, public outrage, and private nightmares. A cast of fugitive characters share their desperate lives—failed novelists, forgotten literary critics, cruel husbands, puzzled historians, armed robbers, jobless alcoholics, exasperated girlfriends, high school dropouts, drowned children, and defeated boxers. These characters populate love poems (“My love, we know how species run extinct”), satires (“The way of the human variety, / Not even happy just being happy”), elegies (The cold edge of the world closed on you, kissed / You shut”), and songs of sorrow (“Seasons start slowly. They end that way too”). The original rhyme scheme devised for this sequence—ABCABCDEFDEFGG—allows the author to dust off of the Italian “little song” and Americanize the Elizabethan love poem for the twenty-first century. Speaking at times in propria persona

(“We’ll head out, you and me, have a pint”), at times in the voice of both male and female characters (“I’m sorry I left you that day at MoMA”), at times across historical gulfs (“Caesar and Charlemagne, Curie, Capone”), Sixty Sonnets marshals both trivia and tragedy to tell stories of modern America, at last achieving a hard-won sense of careful optimism, observing “the last, noble pull of old ways restored, / Valued and unwanted, admired and ignored.”