Aubade
Those who lack a talent for love have come
to walk the long Pier 7. Here at the end
of the imagined world are three low-flying gulls
like lies on the surface; the slow red
of a pilot’s boat; the groan
of a fisherman hacking a small shark—
and our speech like the icy water, a poor
translation that will not carry us across.
What brought us west, anyway? A hunger.
But ours is no Donner Party, we who feed
only on scenery, the safest form
of obfuscation: see how the bay is a gray
deepening into gray, the color of heartbreak.
Randall Mann’s Breakfast with Thom Gunn is a work both direct and unsettling. Haunted by the afterlife of Thom Gunn (1929–2004), one of the most beloved gay literary icons of the twentieth century, the poems are moored in Florida and California, but the backdrop is “pitiless,” the trees “thin and bloodless,” the words “like the icy water” of the San Francisco Bay. Mann, fiercely intelligent, open yet elusive, draws on the “graceful erosion” of both landscape and the body, on the beauty that lies in unbeauty. With audacity, anxiety, and unbridled desire, this gifted lyric poet grapples with dilemmas of the gay self embroiled in—and aroused by—a glittering, unforgiving subculture. Breakfast with Thom Gunnis at once formal and free, forging a sublime integrity in the fire of wit, intensity, and betrayal.
Praise for Complaint in the Garden
“We have before us a skillful, witty, passionate young poet. . . . Randall Mann is both attuned to and at odds with the natural world; he articulates the passions and predicaments of a self inside a massive, arousing, but sometimes brutal culture. And he accomplishes these things with buoyant lyric sensibilities and rejuvenating skills.”—Kenyon Review
Style is the material body of lyric poetry, Helen Vendler suggests. To cast off an earlier style is to do an act of violence to the self. Why might a poet do this, adopting a sharply different form? In this exploration of three kinds of break in poetic style, Vendler clarifies the essential connection between style and substance in poetry. Opening fresh perspectives on the work of three very different poets, her masterful study of changes in style yields a new view of the interplay of moral, emotional, and intellectual forces in a poet’s work.
Gerard Manley Hopkins’ invention of sprung rhythm marks a dramatic break with his early style. Rhythm, Vendler shows us, is at the heart of Hopkins’ aesthetic, and sprung rhythm is his symbol for danger, difference, and the shock of the beautiful. In Seamus Heaney’s work, she identifies clear shifts in grammatical “atmosphere” from one poem to the next—from “nounness” to the “betweenness” of an adverbial style—shifts whose moral and political implications come under scrutiny here. And finally Vendler looks at Jorie Graham’s departure from short lines to numbered lines to squared long lines of sentences, marking a move from deliberation to cinematic “freeze-framing to coverage, each with its own meaning in this poet’s career.
Throughout, Vendler reminds us that what distinguishes successful poetry is a mastery of language at all levels—including the rhythmic, the grammatical, and the graphic. A fine study of three poets and a superb exposition of the craft of poetry, The Breaking of Style revives our lapsed sense of what style means.
In Brief Landing on the Earth’s Surface, even the most ordinary moments are infused with an awareness of the lost past and a kind of prescience of the future. From one setting to another—Tidewater Virginia, rural Pennsylvania, Greece, New York City—these poems give voice to the human longing for permanence, home, and connection in the face of a constantly changing reality.
Bringing the Shovel Down is a re-imagination of the violent mythologies of state and power.
"These poems speak out of a global consciousness as well as an individual wisdom that is bright with pity, terror, and rage, and which asks the reader to realize that she is not alone--that the grief he carries is not just his own. Gay is a poet of conscience, who echoes Tomas Transtromer's 'We do not surrender. But want peace.'"
--Jean Valentine
"Ross Gay is some kind of brilliant latter-day troubadour whose poetry is shaped not only by yearning but also play and scrutiny, melancholy and intensity. I might be shocked by the bold, persistent love throughout Bringing the Shovel Down if I wasn’t so wooed and transformed by it."
--Terrance Hayes
In the arena of poetry and poetics over the past century, no idea has been more alive and contentious than the idea of form, and no aspect of form has more emphatically sponsored this marked formal concern than the line. But what, exactly, is the line? Emily Rosko and Anton Vander Zee’s anthology gives seventy original answers that lead us deeper into the world of poetry, but also far out into the world at large: its people, its politics, its ecology. The authors included here, emerging and established alike, write from a range of perspectives, in terms of both aesthetics and identity. Together, they offer a dynamic hybrid collection that captures a broad spectrum of poetic practice in the twenty-first century.
Anuradha Bhowmik’s life as a Bangladeshi-born American girl growing up as a first-generation immigrant in the United States gives shape to this debut collection. Brown Girl Chromatography interrogates issues of race, class, gender, and sexuality in a post-9/11 America while navigating the poet’s millennial childhood, adolescence, and adulthood. The poems follow Bhowmik as she learns about the cruelties in both American and Bangladeshi worlds without any guidance or instruction on how to survive these conflicting spheres. Any visible traces of her Bangladeshi life result in racial ridicule from her peers, while participating and assimilating into American culture is met with violence and abuse at home. As language and memory intersect, Bhowmik draws on pop culture and free association to examine her displacement from many angles and make meaning out of hurt.
Critical Edition with introduction and commentary by Leon J. Weinberger
This is the first in-depth study of three 11th- to 12th-century poets from Balkan Byzantium. Included are all of the known works by Moses b. Hiyya, Joseph b. Jacob Qalai, and Isaac b. Judah, collected from rare manuscripts and printed editions and from Geniza collections at Oxford and Cambridge. These works provide the evidence that the Balkan synagogue poets favored distinctive literary forms even as they show the strong influence of the Hispanic-Hebrew writers. Completing the volume are indexes of rabbinic, Aramaic, and payyetanic usages and tables of metonymical terms.Published by the Hebrew Union College Press, distributed by The University of Alabama Press.
A lyrical meditation on time, survival, and merciful moments of joy
Sara Henning’s Burn draws readers deep into the moments that make us, focusing on instances of crisis and renewal to explore our relation to time and lived experience. In these poems, we follow a speaker as she works through the loss of young love, the death of her parents, marriage’s hardness and beauty, sexual assault, and the devastation of a pandemic—evolutions of trauma that fracture time and alter perception. Twinned with these extremes are shimmering manifestations of joy only an imperfect world can make possible.
Burn magnifies the way time leaves us both the victim and the victor of our realities. The blaze of her late-mother’s Tiffany lamps sends the speaker back to childhood, where she unearths mica from the schoolyard dirt. The devastation of an ecological crisis, the annihilating act of rape, and the unsolved disappearance of a caretaker all level the speaker’s world and upend her place in it, forcing her to reconstitute reality from what remains. In poems which summon the spirit of Stephen Hawking’s A Brief History of Time, this collection walks through the physics of temporality as refracted through love, loss, and grief, so we better understand its effect on our lives. Through this insight, Henning introduces a new way of being in the world.
A work of advocacy and uplift, Burn shines with the vibrant possibilities of narrative lyric poetry as it forges a path from grief to hope.
WINNER OF THE 2007 DONALD HALL PRIZE IN POETRY
Selected by Bob Hicok
Burn and Dodge is part serious/part serious play and opens with a frank and occasionally antic exploration of contemporary vices, such as Guilt, Envy, and Regret. Some poems “dodge” such preoccupations by playing with a nonce form called sonnet/ghazal. The collection contains a sequence of poems called “Current Events,” based on newspaper stories. that is also a playful meditation on the nature of the interrogative pronouns (Who, What, Where, When . . . ) as well as another series of homophonic sonnets called “Clare-Hewn,” which are aural “translations” of John Clare.
“Autumn wind, autumn rain, fill my heart with sorrow”—these were the last words of Qiu Jin (1875–1907), written before she was beheaded for plotting to overthrow the Qing empire. Eventually, she would be celebrated as a Republican martyr and China’s first feminist, her last words committed to memory by schoolchildren. Yet during her lifetime she was often seen as eccentric, even deviant; in her death, and still more in the forced abandonment of her remains, the authorities had wanted her to disappear into historical oblivion.
Burying Autumn tells the story of the enduring friendship between Qiu Jin and her sworn-sisters Wu Zhiying and Xu Zihua, who braved political persecution to give her a proper burial. Formed amidst social upheaval, their bond found its most poignant expression in Wu and Xu’s mourning for Qiu. The archives of this friendship—letters, poems, biographical sketches, steles, and hand-copied sutra—vividly display how these women understood the concrete experiences of modernity, how they articulated those experiences through traditional art forms, and how their artworks transformed the cultural traditions they invoked even while maintaining deep cultural roots. In enabling Qiu Jin to acquire historical significance, their friendship fulfilled its ultimate socially transformative potential.
Conversational, irreverent, and disarmingly honest, the poems of But She Is Also Jane follow the everyday contours of women’s lives and the expectations they grapple with. As our speaker approaches middle age, she copes with the loss of loved ones, the realities of an emptying nest, the routine indignities of sexism, and nostalgia for the past. Laura Read’s third poetry collection balances discussions of Degas, Vermeer, and Marie Curie with reflections on Sammy Hagar, a troubling outing to a male revue, and memories of watching Mork and Mindy on the night of her mother’s hysterectomy.
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