Philip Fried has published six books of poetry, the most recent being his book of poems about the national security state, Interrogating Water (Salmon, 2014). He has recently published work in Poetry, Poet Lore, and The Warwick Review, and has poems forthcoming in Plume, The Poetry Review, and The Notre Dame Review. In addition to writing poetry, he is the founding editor of The Manhattan Review (1980-present), an international poetry journal.
Publishers Weekly called his fifth book, Early/Late: New and Selected Poems, “skillful and memorable,” Tim Liardet writing in The Warwick Review called it “deeply subversive,” and Renee Ashley in The Literary Review declared, “In realms between and including the Almighty and actuarial tables, Fried speaks every language faithfully and eloquently. Rejoice! Read!”
Praise for Philip Fried’s other books
Mutual Trespasses (Ion, 1988)
Twenty years ago, I knew a young writer and biology student named Philip Fried whose poems were a rush of invention and wit. Now he comes to publication with an engaging series of poems concerning, as Mr. Fried says, “a character named God.” To my mind, they bear something we usually credit to Eastern Europe, a seasoned lively social intelligence linked to a vision of an earthly Boss-God. The richness here is real.
Quantum Genesis (Zohar, 1997)
Here in a major new testament the great questions are reconsidered, re-presented—how the large and small inhabit each other, how indifferences allow differences, how the palpable can be the residence of the widest spirit. The graphic and the philosophical, the human and the godly interplay in a quiet attentiveness explosive with realization and recognition. As in one of his lines, Philip Fried “raises his hand like a conductor / assembling silence . . .”
—A. R. Ammons
Big Men Speaking to Little Men (Salmon, 2006)
Philip Fried's new book represents much of what I admire in contemporary American poetry. Mutli-layered but never opaque, these poems move gracefully from forest to subway, from a suburban drive-in to the Rodin museum, from post-war discovery to pre-war doubt. Fried's is a Jamesian view of this country and other places, where history is a companion at almost every table, an observer in the schoolroom, in the next seat at the theatre, where wit is tinged with tragedy and vice versa.
Cohort (Salmon, 2009)
Tense with dark wit and wild originality, Cohort, Philip Fried's eagerly-awaited new book, opens exciting territory where poems haven't dared to venture—the toxic side of the Information Age as it veers out of control. . . .