My friend is a fugitive from the law.
For fifteen years he’s been on the “run.”
What to do? Let’s get this cold keg started.
We’ll deal with it tomorrow. The one flaw
In the system is just how little fun
It is once it’s got you boxed and carded.
Youthful transgressions fester. We still move
Against the commonwealth, however small
Our motions may be. Some guys really do
Get away with murder. Try to improve
On that. Just read the papers. We all fall
From time to time, and will until we’re through.
You can only laugh. You will never win,
But, still, it’s pointless to turn yourself in.

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.”