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Be Holding
A Poem
Ross Gay
University of Pittsburgh Press, 2020
Winner, 2021 PEN/Jean Stein Award
Winner, 2021 Ohioana Book Award in Poetry
Winner, 2022 Indiana Author Award in Poetry

Be Holding is a love song to legendary basketball player Julius Erving—known as Dr. J—who dominated courts in the 1970s and ‘80s as a small forward for the Philadelphia ‘76ers. But this book-length poem is more than just an ode to a magnificent athlete. Through a kind of lyric research, or lyric meditation, Ross Gay connects Dr. J’s famously impossible move from the 1980 NBA Finals against the Los Angeles Lakers to pick-up basketball and the flying Igbo and the Middle Passage, to photography and surveillance and state violence, to music and personal histories of flight and familial love. Be Holding wonders how the imagination, or how our looking, might make us, or bring us, closer to each other. How our looking might make us reach for each other. And might make us be reaching for each other. And how that reaching might be something like joy.
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Beowulf
The Poem and Its Tradition
John D. Niles
Harvard University Press, 1983

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Beowulf—A Poem
Andrew Scheil
Arc Humanities Press, 2022
Why should anyone, aside from specialist historians and philologists, read Beowulf? This book presents a passionate literary argument for Beowulf as a searching and subtle exploration of the human presence. Seamus Heaney praised Beowulf as "a work of the greatest imaginative vitality": how is that true? The poem's current scholarly obsessions and its popular reception have obscured the fact that this untitled and anonymous 3182-line poem from Anglo-Saxon England is a powerful and enduring work of world literature. Beowulf is an early medieval exercise in humanism: it dramatizes, in varied and complex ways, the conflict between human autonomy and the "mind-forg'd manacles" of the world. The poem is as relevant and moving to any reader today as it was during the early Middle Ages. This book serves both as an invitation and introduction to the poem as well as an intervention in its current scholarly context.
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Boston Strong
The Poem to benefit The One Fund Boston
Richard Blanco
University of Pittsburgh Press, 2013
Boston Strong is a commemorative chapbook that beautifully reproduces Richard Blanco’s poignant poem presented May 30, 2013 at the benefit concert to help the people most affected by the tragic events that occured on April 15, 2013 during the Boston Marathon.

The net proceeds from the sale of this book benefit The One Fund Boston.

The One Fund Boston was established through the generosity of businesses, foundations, and individual donors. The Victim Relief Fund of The One Fund Boston will be used to assist those families of the victims who were killed and the victims who were most seriously affected as a result of the tragic events during the Boston Marathon on April 15, 2013, and related events on April 18 and April 19.
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The Bow and the Lyre
The Poem, The Poetic Revelation, Poetry and History
By Octavio Paz
University of Texas Press, 1973

In The Bow and the Lyre Octavio Paz, one of the most important poets writing in Spanish, presents his sustained reflections on the poetic phenomenon and on the place of poetry in history and in our personal lives. It is written in the same prose style that distinguishes The Labyrinth of Solitude. The Bow and the Lyre will serve as an important complement to Paz's poetry.

Paz's discussions of the different aspects of the poetic phenomenon are not limited to Spanish and Spanish American literature. He is almost as apt to choose an example from Homer, Vergil, Blake, Whitman, Rimbaud as he is from Lope de Vega, Jiménez, Darío, Neruda. In writing these essays, he draws on his vast storehouse of knowledge, revealing a world outlook of ample proportions. In reading these essays, we share the observations of a searching, original, highly cultivated mind.

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Clarel
A Poem and Pilgrimage in the Holy Land
Herman Melville
Northwestern University Press, 2008

Melville’s long poem Clarel: A Poem and Pilgrimage in the Holy Land (1876) was the last full-length book he published. Until the mid-twentieth century even the most partisan of Melville’s advocates hesitated to endure a four-part poem of 150 cantos and almost 18,000 lines about a naive American named Clarel, on pilgrimage through the Palestinian ruins with a provocative cluster of companions.

But modern critics have found Clarel a much better poem than was ever realized. Robert Penn Warren called it a precursor of The Waste Land. It abounds with revelations of Melville’s inner life. Most strikingly, it is argued that the character Vine is a portrait of Melville’s friend Nathaniel Hawthorne. Clarel is one of the most complex theological explorations of faith and doubt in all of American literature, and this edition brings Melville’s poem to new life.

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Diary of a Poem
Andrew Hudgins
University of Michigan Press, 2011

Praise for Andrew Hudgins

"Hudgins . . . [is] one of the few poets of the American South who can be both solemn and sidesplitting in a single poem."
---Publishers Weekly

"Andrew Hudgins is a natural storyteller . . . The surface[s]  of Hudgins's poems---their quirky economy, the sheer music of his prosody---are so right because he goes so deep."
---Washington Post

A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.

Andrew Hudgins's Diary of a Poem is an engaging collection of essays that offers pleasure and profit to its readers. The title essay discusses the author's amusing travails as he attempts to write an ode about intestines, while other pieces explore the poetry of James Agee, Donald Justice, Allen Tate, and other poets, as well as the musician Johnny Winter, who is the subject of a rollicking segment about rock 'n' roll. More seriously, Hudgins writes with lively good humor about his tomato garden, the unread books piled up precipitously around his bed, and the emotional problems that led to an embarrassingly intimate, yet funny encounter with his father-in-law.

Diary of a Poem is lively, charming, often humorous, and a pleasurable read for the general reader and the poetry specialist alike.


Author photo by Jo McCulty

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Fortino Sámano
The Overflowing of the Poem
Virginie Lalucq and Jean-Luc Nancy
Omnidawn, 2012
Fortino Sámano (the overflowing of the poem), translated by Cynthia Hogue and Sylvain Gallais, with French on facing pages, is a collaborative work by the emerging French poet, Virginie Lalucq, and the distinguished philosopher, Jean-Luc Nancy. Lalucq wrote the serial poem, Fortino Sámano, after seeing an exhibit of photographs on the Mexican Revolution by Agustin Victor Casasola. Her series is a meditation on the single, extant photograph of Sámano, a Zapatista lieutenant and counterfeiter, which Casasola snapped as Sámano, smoking a last cigar, appeared to stare death nonchalantly in the face moments before his execution by firing squad (it was reported that he himself gave the order to fire). Little is known about Sámano, and Lalucq’s poem makes no attempt to be biographical or historical. Rather, she treats the image itself, the fact that the camera caught the image of life just prior to its end. What, then, does the image represent? She asks. Nancy’s section, Les débordements du poème (The overflowing of the poem), is a series of poetic commentaries on each of the poems in Lalucq’s series. It is a philosophical contemplation of the specific poem, Fortino Sámano, and also, a poetic investigation of the lyric genre, which works hand-in-hand with Lalucq’s poems. Fortino Sámano is an exciting poetic dialogue, and a significant work in poetics, which Hogue and Gallais have brought into English.
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Freedom Hill
A Poem
L.S. Asekoff
Northwestern University Press, 2011
Recepient, 2013 Guggenheim Fellowship
Winner, 2012 Witter Bynner Award and Fellowship

L. S. Asekoff's Freedom Hill is a dramatic monologue divided into three sections. The first concerns the speaker's visit with his aging parents and the death of his father. The second, set at an art party, is a meditation on women, desire, and the nature of the self. In the third, we witness the effects on the speaker of a cerebral stroke, along with his gradual recovery. As readers of Asekoff's unique body of work have come to expect, this highly allusive poem encompasses a wide range of subject matter: Heidegger, C-SPAN, modern art, aging, capitalism, religion. Also familiar will be Asekoff's great variety of tone and verbal ingenuity. Although indebted to high modernism, Freedom Hill is an ambitious, thoroughly contemporary meditation on issues very much of the present.
 
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Ghost Voices
A Poem in Prayer
Quincy Troupe
Northwestern University Press, 2019
If we were all brave enough to resurrect the voices lost from our humanity, what would they say? Award-winning poet Quincy Troupe, spokesman for the humanizing forces of poetry, music, and art, parts the Atlantic and rattles the ground built on slavery with Ghost Voices: A Poem in Prayer.

we are crossing, / we are / crossing, / we are crossing in big salt water, // we are crossing, // crossing under a sky of no guilt / we have left home // though we know we will go back / someday, / see our people / as we knew them . . .

Troupe re-creates the history of lost voices between the waters of Africa, Cuba, and the United States. His daring poetics drenched in new forms-notably the seven-elevens-clench transformative narratives spurred on by a relentless, rhythmic language that mimics the foaming waves of the Atlantic Ocean and the Caribbean Sea. His personae speak quantum litanies within one epic, sermonic-gospel to articulate our most ancient ways of storytelling and survival.
 
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"The God of Love’s Letter" and "The Tale of the Rose"
A Bilingual Edition. With Jean Gerson, “A Poem on Man and Woman,” Translated from the Latin by Thomas O’Donnell
Christine de Pizan
Iter Press, 2020
Christine de Pizan was born in Italy and moved to the French court of Charles V when she was four years old. She led a life of learning, stimulated by her reading and by her drive to engage with the cultural and political issues of her day. As a young widow she sought to support her family through writing, and she broke new ground by pursuing a life as an author and self-publisher, producing an astonishingly large and varied body of work. Her books, owned and read by some of the most important figures of her day, addressed politics, philosophy, government, ethics, the conduct of war, autobiography and biography, and religious subjects.

The God of Love’s Letter (1399), Christine de Pizan’s first defense of women, is arguably her most succinct statement about gender. It also rebukes the thirteenth-century Romance of the Rose and anticipates Christine’s City of Ladies. The Tale of the Rose (1402) responds to the growth in chivalric orders for the defense of women by arguing that women, not men, should choose members of the “Order of the Rose.” Both poems are freshly edited here from their earliest manuscripts and each is newly translated into English.
 
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Goethe and the Ginkgo
A Tree and a Poem
Siegfried Unseld
University of Chicago Press, 2003
In 1815, Goethe gave symbolic expression to his intense relationship with Marianne Willemer, a recently married woman thirty-five years his junior. He gave her a leaf from the ginkgo tree, explaining that, like its deeply cleft yet still whole leaf, he was "single yet twofold." Although it is not known if their relationship was ever consummated, they did exchange love poetry, and Goethe published several of Marianne's poems in his West-East Divan without crediting her authorship.

In this beautiful little book, renowned Goethe scholar Siegfried Unseld considers what this episode means to our estimation of a writer many consider nearly godlike in stature. Unseld begins by exploring the botanical and medical lore of the ginkgo, including the use of its nut as an aphrodisiac and anti-aging serum. He then delves into Goethe's writings for the light they shed on his relationship with Marianne. Unseld reveals Goethe as a great yet human being, subject, as any other man, to the vagaries of passion.
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How to Play a Poem
Don Bialostosky
University of Pittsburgh Press, 2017
Approaching poems as utterances designed and packaged for pleasurable reanimation, How to Play a Poem leads readers through a course that uses our common experience of language to bring poems to life. It mobilizes the speech genres we acquire in our everyday exchanges to identify “signs of life” in poetic texts that can guide our co-creation of tone. How to Play a Poem draws on ideas from the Bakhtin School, usually associated with fiction rather than poetry, to construct a user-friendly practice of close reading as an alternative to the New Critical formalism that still shapes much of teaching and alienates many readers. It sets aside stock questions about connotation and symbolism to guide the playing out of dynamic relations among the human parties to poetic utterances, as we would play a dramatic script or musical score. How to Play a Poem addresses critics ready to abandon New Criticism, teachers eager to rethink poetry, readers eager to enjoy it, and students willing to give it a chance, inviting them to discover a lively and enlivening way to animate familiar and unfamiliar poems.
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A Long Essay on the Long Poem
Modern and Contemporary Poetics and Practices
Rachel Blau DuPlessis
University of Alabama Press, 2023
A masterful meditation on our most mercurial and abiding of poetic forms—the long poem
 
For decades, Rachel Blau DuPlessis has shown readers how genres, forms, and the literal acts of writing and reception can be understood as sites of struggle. In her own words, “writing is . . . a praxis . . . in which the author disappears into a process, into a community, into discontinuities, and into a desire for discovery.” It is cause for celebration, then, that we have another work of warm, incisive, exploratory writing from DuPlessis in A Long Essay on the Long Poem.

Long poems, DuPlessis notes, are elusive, particularly in the slippery forms that have emerged in the postmodern mode. She cites both Nathaniel Mackey and Anne Waldman in thinking of the poem as a “box,” both in the sense of a vessel that contains and as a machine that processes, an instrument on which language is played. This study’s central attention is on the long poem as a sociocultural Book, distinctively envisioned by a range of authors.

To reckon with these shifting and evolving forms, DuPlessis works in a polyvalent mode, a hybrid of critical analysis and speculative essay. She divides the long poem and the long poets into three genres: epics, quests, and a composite she terms “assemblages.” The poets she surveys include T. S. Eliot, Ezra Pound, H.D., Louis Zukofsky, Gwendolyn Brooks, Charles Olson, Alice Notley, Nathaniel Mackey, Ron Silliman, Robert Duncan, Kamau Brathwaite, and, finally, Mallarmé and Dante. Instead of a traditional lineage, she deliberately seeks intersecting patterns of connection between poems and projects, a nexus rather than a family tree. In doing so she navigates both some challenges of long poems and her own attempt to “essay” them. The result is a fascinating and generous work that defies categorization as anything other than essential.
 
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Lug Your Careless Body out of the Careful Dusk
A Poem in Fragments
Joshua Marie Wilkinson
University of Iowa Press, 2006

Drawing from the paintings of Susan Rothenberg, Gwyneth Scally, and Eric Fischl as well as from the photography of Allison Maletz, Joshua Marie Wilkinson’s Lug Your Careless Body out of the Careful Dusk is a book-length poem written in small fragments. Comprised of seven sections, the poem is formed as much by the poet’s travels through Turkey, the Baltics, and Eastern Europe as it is by the movies of Rainer Werner Fassbinder, Krzysztof Kieslowski, and Bill Morrison. The painters Francis Bacon and Lucian Freud are here alongside whispers of Emily Dickinson and Wallace Stevens. Lug Your Careless Body out of the Careful Dusk is a book of cinematic images and fragments, of small stories overheard and quickly abandoned, of hidden letters and phone booths, and of ghosts who return with questions.

Born and raised in Seattle’s Haller Lake neighborhood, Joshua Marie Wilkinson is the author of one other book of poetry, Suspension of a Secret in Abandoned Rooms, and the chapbook A Ghost as King of the Rabbits. He holds an MFA from the University of Arizona and an MA in film studies from University College Dublin. Presently he lives in Denver, Colorado, where he is pursuing his doctorate in English and creative writing and completing his first film.

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The New World
A Poem
Suzanne Gardinier
University of Pittsburgh Press, 1994
Winner of the 1992 Associated Writing Programs’ Award Series in Poetry.
“A great poem of this end of our century. It is masterfully structured in recurring themes and voices which build on and off each other. Gardinier is above all a poet whose language and images are completely integrated so that in Keats's words, every rift is laden with ore. I found this a thrilling poem to read.” --Adrienne Rich
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One Kind of Everything
Poem and Person in Contemporary America
Dan Chiasson
University of Chicago Press, 2007

One Kind of Everything elucidates the uses of autobiography and constructions of personhood in American poetry since World War II, with helpful reference to American literature in general since Emerson. Taking on one of the most crucial issues in American poetry of the last fifty years, celebrated poet Dan Chiasson explores what is lost or gained when real-life experiences are made part of the subject matter and source material for poetry. In five extended, scholarly essays—on Robert Lowell, Elizabeth Bishop, Frank Bidart, Frank O’Hara, and Louise Glück—Chiasson looks specifically to bridge the chasm between formal and experimental poetry in the United States. Regardless of form, Chiasson argues that recent American poetry is most thoughtful when it engages most forcefully with autobiographical material, either in an effort to embrace it or denounce it.

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Poem and Music in the German Lied from Gluck to Hugo Wolf
Jack M. Stein
Harvard University Press, 1971

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The Poem in the Story
Music, Poetry, and Narrative
Harold Scheub
University of Wisconsin Press, 2002

Fact and fiction meet at the boundaries, the betwixt and between where transformations occur. This is the area of ambiguity where fiction and fact become endowed with meaning, and this is the area—where ambiguity, irony, and metaphor join forces—that Harold Scheub exposes in all its nuanced and evocative complexity in The Poem in the Story.
In a career devoted to exploring the art of the African storyteller, Scheub has conducted some of the most interesting and provocative investigations into nonverbal aspects of storytelling, the complex relationship between artist and audience, and, most dramatically, the role played by poetry in storytelling. This book is his most daring effort yet, an unconventional work that searches out what makes a story artistically engaging and emotionally evocative, the metaphorical center that Scheub calls "the poem in the story." Drawing on extensive fieldwork in southern Africa and decades of experience as a researcher and teacher, Scheub develops an original approach—a blend of field notes, diary entries, photographs, and texts of stories and poems—that guides readers into a new way of viewing, even experiencing, meaning in a story. Though this work is largely focused on African storytelling, its universal applications emerge when Scheub brings the work of storytellers as different as Shakespeare and Faulkner into the discussion.

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The Poem, the Garden, and the World
Poetry and Performativity in Elizabethan England
Jim Ellis
Northwestern University Press, 2023

How an early modern understanding of place and movement are embedded in a performative theory of literature
 
How is a garden like a poem? Early modern writers frequently compared the two, and as Jim Ellis shows, the metaphor gained strength with the arrival of a spectacular new art form—the Renaissance pleasure garden—which immersed visitors in a political allegory to be read by their bodies’ movements. The Poem, the Garden, and the World traces the Renaissance-era relationship of place and movement from garden to poetry to a confluence of both. Starting with the Earl of Leicester’s pleasure garden for Queen Elizabeth’s 1575 progress visit, Ellis explores the political function of the entertainment landscape that plunged visitors into a fully realized golden world—a mythical new form to represent the nation. Next, he turns to one of that garden’s visitors: Philip Sidney, who would later contend that literature’s golden worlds work to move us as we move through them, reorienting readers toward a belief in English empire. This idea would later be illustrated by Edmund Spenser’s Faerie Queen; as with the pleasure garden, both characters and readers are refashioned as they traverse the poem’s dreamlike space. Exploring the artistic creations of three of the era’s major figures, Ellis argues for a performative understanding of literature, in which readers are transformed as they navigate poetic worlds.

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Porcelain
Poem on the Downfall of My City
Durs Grünbein
Seagull Books, 2020
A book-length cycle of forty-nine poems written over the course of more than a decade that together serve as a lament for Durs Grünbein’s hometown, Dresden, which was destroyed in the Allied firebombing of February 1945. 

Porcelain is a book-length cycle of forty-nine poems written over the course of more than a decade that together serve as a lament for Durs Grünbein’s hometown, Dresden, which was destroyed in the Allied firebombing of February 1945. The book is at once a history and “declaration of love” to the famed “Venice on the Elbe,” so catastrophically razed by British bombs; a musical fusion of eyewitness accounts, family memories, and stories, of monuments and relics; the story of the city’s destiny as seen through a prism of biographical enigmas, its intimate relation to the “white gold” porcelain that made its fortune and reflections on the power and limits of poetry. Musical, fractured, ironic, and elegiac, Porcelain is controversial, too, in setting itself against what Grünbein calls the “myth” of the Germans as innocent victims of a war crime. At the same time, it never loses sight of the horror deliberately visited on an unwitting civilian population, nor the devastation that looms so large in the German memory. Published for the first time in English, on the seventy-fifth year anniversary of the firebombing, this edition contains new images, notes, Grünbein’s own reflections, and an additional canto—an extraordinary act of poetic kintsugi for the fractured remains of Dresden’s memory.
 
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