Falling Brick Kills Local Man is a daring and inventive collection of narrative poems rich with thoughtful and precise language. Mark Kraushaar writes about what moves him, whether that is the war in Iraq, the notion of synchronicity, the retelling of children’s stories, or a problem of recollection. Often inspired by newspaper stories or witnessed scenes, these poems are a refreshingly honest exploration of our interconnected and multifaceted world.

 

 

Finalist, Poetry, Midwest Book Awards

The Falling Hour is the fifth collection of poetry by David Wojahn, one of the most highly regarded poets of his generation. It is a fiercly elegiac and even apocalyptic book, culminating in a series of blistering elegies written after the sudden death of Wojahn’s wife, the poet Linda Hull. In these poems, the process of mourning and lamentation is examined in all of its intricacy, rage, and sorrowful ambivalence.

Winner of the 2012 Colorado Prize for Poetry, selected by Elizabeth Willis

"Family System is one of the most specific and clarifying books of poetry I’ve ever read. It is filled with choices—made, to be made, not made—handled with a poetic understanding that what seems arbitrary will be inevitable when said with the right words while singing the right songs. This is a stand-out first book, introducing a first-rate original talent, doing powerful work, making quintessentially lyrical choices. Don’t miss this book.”
—Dara Wier
 
“It seems that Jack Christian’s brain is able to produce tiny lucid creatures, have them run and sprinkle over a map of an unknown world with joy, speed and delight. Even stranger, he’s somehow the spiritual offspring of very different ancestors: Pascal’s Esprit de Geometrie and Scandinavian mythology. ‘I was eulogizing a squirrel in a shoebox.’ Brilliant.”
—Tomaž Šalamun

Robert Herrick (1591–1674) achieved fame only in the nineteenth century. The book features approximately fifty reproductions of illustrations of Hesperides.

If baseball is the sport of nostalgic prose, basketball’s movement, myths, and culture are truly at home in verse. In this extraordinary collection of essays, poets meditate on what basketball means to them: how it has changed their perspective on the craft of poetry; how it informs their sense of language, the body, and human connectedness; how their love of the sport made a difference in the creation of their poems and in the lives they live beyond the margins. Walt Whitman saw the origins of poetry as communal, oral myth making. The same could be said of basketball, which is the beating heart of so many neighborhoods and communities in this country and around the world. On the court and on the page, this “poetry in motion” can be a force of change and inspiration, leaving devoted fans wonderstruck.

Fasting for Ramadan is structured as a chronicle of daily meditations, during two cycles of the 30-day rite of daytime abstinence required by Ramadan for purgation and prayer. Estranged in certain ways from his family’s cultural traditions when he was younger, Ali has in recent years re-embraced the Ramadan ritual, and brings to this rediscovery an extraordinary delicacy of reflection, a powerfully inquiring mind, and the linguistic precision and ardor of a superb poet.

Eve Kosofsky Sedgwick is best known as a cultural and literary critic, as one of the primary forces behind the development of queer and gay/lesbian studies, and as author of several influential books: Tendencies, Epistemology of the Closet, and Between Men: English Literature and Male Homosocial Desire. The publication of Fat Art, Thin Art, Sedgwick’s first volume of poetry, opens up another dimension of her continuing project of crossing and re-crossing the electrified boundaries between theory, lyric, and narrative.
Embodying a decades-long adventure, the poems collected here offer the most accessible and definitive formulations to appear anywhere in Sedgwick’s writing on some characteristic subjects and some new ones: passionate attachments within and across genders; queer childhoods of many kinds; the performativity of a long, unconventional marriage; depressiveness, hilarity, and bliss; grave illness; despised and magnetic bodies and bodily parts. In two long fictional poems, a rich narrative momentum engages readers in the mysterious places—including Victorian novels—where characters, sexualities, and fates are unmade and made. Sedgwick’s poetry opens an unfamiliar, intimate, daring space that steadily refigures not only what a critic may be, but what a poem can do.

All timing all the time! Fate News is poetry in the crosshairs of action (kairos) and clock time (chronos). With a topical setlist in four sections, “Local,” “On-Going,” “Stay Songs,” and “Harmolodics,” Fate News relentlessly pierces the surface of lyric gesture. Its osmotic exchanges and searching encounters vibrate with the clarity of fiercely delicate shouts and murmurs, undertones and overtones. The vision of “Mount Fiasco” is on fire.

"Poetry," wrote Wordsworth, "is the breath and finer spirit of all knowledge; it is the impassioned expression which is the countenance of all Science." Robert Pack's new book is a heady mixture of the finer spirit.

A selection from his last five books, along with a collection of new poems, Fathering the Map takes us from the personal reflections distilled in the lyrics of Waking to My Name (1980) to the worldly reckonings of Inheritance (1992) and back again. In the dramatic monologues of Faces in a Single Tree (1984), in the narrative of a wayward life from womb to double ending in Clayfield Rejoices, Clayfield Laments (1987), in a cosmic tour conducted by the physicist Heinz Pagels with Before It Vanishes (1990), Pack has fashioned poems of intimate experience, scientific meditations, philosophical wonder, poems that breathe the knowledge of man and woman, young and old, artist and human animal.

Pack's work has won the acclaim of writers, critics, and readers from Robert Penn Warren to Cynthia Ozick to Stephen Jay Gould, who comments that the "precious contacts of science and poetry are now sadly rare, but Bob Pack revitalizes the ancient union with incisive poems that sing with lyricism or bite with insight—but always seem to add wisdom to the scientist's epigram."

"The poet improves his style and spirit as he extends his reach," Howard Nemerov has written, and in his new work Pack reaches back to some of his earliest memories, and so forward to a personal mythology that circles from the primal instant to the present ecological crisis. "Robert Pack's poetry is deeply rooted in his won family life," Richard Wilbur has remarked, "and yet his imagination has always included us all."

And Cynthia Ozick has said of Pack's poetry: "We rejoice as we read."

This book differs from most previous studies of the Pearl poet by treating all of his works as a whole. Prior’s purpose is to identify the underlying poetics of this major body of English poetry. Drawing on both the visual imagery of medieval art (the study includes 18 full-page illustrations) and the verbal imagery of the Bible and other literary sources, Prior shows how the poet’s "fayre formez" are the result of a coherent and self-conscious view of the artist’s craft.

In his most autobiographically transparent (and most comical) collection to date, Waldrep explores the intersections between body and spirit, faith and action. These are lyrics of incarnation, of method and meat-hood, of illness and the vicissitudes of love, earthly as well as heavenly, occupying the space between desire and gratification, between pain and praise.

This revised and expanded edition of The Feathered Heart, Mark Turcotte's celebrated collection of Native American poetry, brings traditional oral culture to print. Torn, painful, vibrant, and full of hope, his poetry weaves together the multilayered and textured fabric of contemporary Native American urban and rural existence. Appropriately, each poem in The Feathered Heart possesses a deeply lyrical quality. Raw emotion echoes in Turcotte's voice, in his verse, in the things he sees. "Ten Thousand Thousand Bones," for example, "a poem about the desecration of Native American burial sites and objects by archeologists," is dedicated "to an ancient woman taken from the Earth near New Lenox, Illinois in the winter 1993/94."

The Feminist Avant-Garde in American Poetry offers a historical and theoretical account of avant-garde women poets in America from the 1910s through the 1990s and asserts an alternative tradition to the predominantly male-dominated avant-garde movements. Elisabeth Frost argues that this alternative lineage distinguishes itself by its feminism and its ambivalence toward existing avant-garde projects; she also thoroughly explores feminist avant-garde poets' debts and contributions to their male counterparts.

A Festering Sweetness is a new approach for the renowned child psychiatrist and writer Robert Coles. His works have always portrayed children in their own social fabric and language, but in this book he has arranged the words and intent of the children and their parents into verse forms.  These skillfully constructed poems capture the hopes, fears, assumptions, and expectations of these people.

The sense of life and suffering among the poor of the South, the northern ghettos, and the West conveyed in A Festering Sweetness could not  be expressed in any form other than poetry.  And only Robery Coles, who has lived and worked among these people, could have revealed with such sympathy and insight the minds and emotions of the deprived in America.  He is a superb stylist, with an extraordinary sensitivity of ear and eye, as well as a fine and humane psychiatrist—indeed, a man in the doctor-writer tradition of William Carlos Williams.

Dream worlds, real worlds: this book ushers in an extraordinary collection of new work by nearly forty poets currently living and writing in Arizona. From campuses and coffee houses, prisons and pueblos, classrooms and kitchen tables comes the work of both well-known and emerging writers drawn to the state's blazing days and starry nights in search of place, time, idea, and self.Brief introductions for each poet reveal that socially, geographically, and emotionally, they come from anywhere and everywhere. Here and together, however, their energy and synergy are shaping a literary landscape unlike any other. They write of jazz, serotonin levels and talk shows, homelessness, convenience stores and gunplay, Tiananmen Square and Bosnia. Their poems, like these lines by Alberto Ríos, are as clear as the desert air: "The birds, they make this happen. / In the sky with nothing else to do, a Saturday, / The slow knee-bend of an afternoon, out there. / I have seen them myself / The birds caw down a rain, tease it / To a hard ground of grass and flat and edge."For the anthology, well-known contributors—Ríos, Richard Shelton, Steve Orlen, Alison Deming, and others—were asked to surprise the editors with their ideas for the best less-known artists to include in the volume. Like a kaleidoscope, then, each page brings a shift in tone and color from the one before, from mainstream, "language," and experimental poetry, to that shaped by rural or traditional cultures.In English, Spanish, and Native languages, voices here reach out to those readers whose home—or whose heart—is in Arizona, and to many others who will never travel here. "Each distinct and other," says Forché of the words in Fever Dreams, make of poetry "what it could not be without this place, translating into poetry its timelessness and awe."Contributors:
William Aberg
Ai
Jed Allen
Barbara Anderson
Jon Anderson
Michael Bowden
Becky Byrkit
Cordelia Candelaria
James Cervantes
David Chorlton
Jeanne E. Clark
Jane Candia Coleman
Michael Cuddihy
Barbara Cully
Alison Hawthorne Deming
Norman Dubie
Beckian Fritz Goldberg
Catherine Hammond
Rex Lee Jim
Ramson Lomatewama
Rita Magdaleno
Jane Miller
Paul Morris
Sheila Murphy
Rick Noguchi
Steve Orlen
Henry Quintero
Alberto R¡os
William Pitt Root
Jeannine Savard
Richard Shelton
Jim Simmerman
Virginia Chase Sutton
Laura Tohe
Tracy Trefethen
Peter Wild
Leilani Wright
Brian Young
Ofelia Zepeda

One of the hallmarks of FIELD magazine has always been its attention to what poets have to say about poetry. Many of these essays--by William Stafford, Denise Levertov, Gary Snyder, Adrienne Rich, Donald Hall, Robert Bly, and Sandra McPherson, among others--have become classics. This revised and expanded collection of essays from the magazine provides a rich and stimulating perspective on the state of contemporary poetry, as seen through the eyes of the poets themselves.

A constellation of essays that reanimates the work of this pivotal twentieth-century American poet for a new century. This volume is the first to reconsider Roethke’s work in terms of the expanded critical approaches to literature that have emerged since his death in 1963. Editor William Barillas and over forty contributors, including highly respected literary scholars, critics, and writers such as Peter Balakian, Camille Paglia, Jay Parini, and David Wojahn, collectively make a case for Roethke’s poetry as a complete, unified, and evolving body of work. The accessible essays employ a number of approaches, including formalism, ecocriticism, reader-response, and feminist critique to explicate the poetics, themes, and the biographical, historical, cultural, and literary contexts of Roethke’s work.

Sexual identity, female friendship, and queer experiences of love
 
Fraught with obsession, addiction, and unrequited love, Catherine Pond’s Fieldglass immerses us in the speaker’s transition from childhood to adulthood. A queer coming-of-age, this collection is a candid exploration of sexual identity, family dynamics, and friendships that elude easy categorization, offering insight on the ambiguous nature of identity. 
 
Saturated by her surroundings and permeated by the emotional lives of those close to her, the speaker struggles with feelings of displacement, trauma, and separateness. She is perpetually in transit, with long drives, flights, and train rides—moving most often between the city and the foothills of the Adirondack Mountains. As the collection unfolds, the speaker journeys toward adulthood, risking intimacy and attempting to undo her embedded impulses toward silence and absorption.
 
Reflective, graceful, and understated, Pond’s images accumulate power through restraint and suggestion. Deeply personal and intense, searching and yearning, associative and lyric, Fieldglass is a confessional about growing up, loving hard, and letting go. 
 

At the heart of Joshua Weiner’s new book is an extended poem with a bold political dimension and great intellectual ambition. It fuses the poet’s point of view with Walt Whitman’s to narrate a decentered time-traveling collage about Rock Creek, a tributary of the Potomac that runs through Washington, DC. For Weiner, Rock Creek is the location of myriad kinds of movement, streaming, and joining: personal enterprise and financial capital; national politics, murder, sex, and homelessness; the Civil War and collective history; music, spiritual awakening, personal memory, and pastoral vision. The questions that arise from the opening foundational poem inform the others in the collection, which range widely from the dramatic arrival of an uncanny charismatic totem that titles the volume to intimate reflections on family, illness, and dream visions. The virtues of Weiner’s earlier books—discursive intelligence, formal control, an eccentric and intriguing ear, and a wide-ranging curiosity matched to variety of feeling—are all present here. But in The Figure of a Man Being Swallowed by a Fish, Weiner has discovered a new poetic idiom, one that is stripped down, rhythmically jagged, and comprehensively philosophical about human limits.

Greg Rappleye’s Figured Dark is a collection of contemporary lyric and narrative poems, set in an American landscape, which takes as its implicit theme the journey of the soul from darkness into light.

The voices in the collection call across a vast landscape of myth, memory, and horrific wreckage. In the title poem, speaking of the phenomenon of fireflies rising at night from a southern field, he writes, “I could read this down to a million tiny bodies, / blazing the midnight trees,” but the reader is left to wonder whether any extravagant numbering can account for the massed starlings, dreamy raptors, dome-lighted Firebirds, flaming bodies, junk cars, and deadly archangels that come to ground in Rappleye’s world, where the spiritual exhaustion of Odysseus is visited upon Brian Wilson, and the young John Berryman seeks recompense from a wily family in northern Michigan.

These poems are by turns wise, elegiac, ironic, and wickedly funny. This is a poet who refuses easy categories. If these poems are anything, they are affidavits of a heart at work, building out of darkness a kind of wild redemption, hard-earned in the real world.

Figured Dark is part of the University of Arkansas’s Poetry Series, edited by Enid Shomer.

In this revisionist study of texts from the mid-Heian period in Japan, H. Richard Okada offers new readings of three well-known tales: The Tale of the Bamboo-cutter, The Tale of Ise, and The Tale of Genji. Okada contends that the cultural and gendered significance of these works has been distorted by previous commentaries and translations belonging to the larger patriarchal and colonialist discourse of Western civilization. He goes on to suggest that this universalist discourse, which silences the feminine aspects of these texts and subsumes their writing in misapplied Western canonical literary terms, is sanctioned and maintained by the discipline of Japanese literature.
Okada develops a highly original and sophisticated reading strategy that demonstrates how readers might understand texts belonging to a different time and place without being complicit in their assimilation to categories derived from Western literary traditions. The author’s reading stratgey is based on the texts’ own resistance to modes of analysis that employ such Western canonical terms as novel, lyric, and third-person narrative. Emphasis is also given to the distinctive cultural circles, as well as socio-political and genealogical circumstances that surrounded the emergence of the texts.
Indispensable readings for specialists in literature, cultural studies, and Japanese literature and history, Figures of Resistance will also appeal to general readers interested in the problems and complexities of studying another culture.

In Olivia Maciel's Filigree of Light, one enters a lyric of solitude and light, water and wind. Maciel is a poet who has the power to reveal and surprise, bringing one close to things. She approaches the unknown, searching with riddles and reverie.

Featuring innovative research by emergent and established scholars, The Fin-de-Siecle Poem throws new light on the remarkable diversity of poetry produced at the close of the nineteenth century in England. Opening with a detailed preface that shows why literary historians have frequently underrated fin-de-siecle poetry, the collection explains how a strikingly rich body of lyrical and narrative poems anticipated many of the developments traditionally attributed to Modernism. Each chapter in turn provides insights into the ways in which late-nineteenth-century poets represented their experiences of the city, their attitudes toward sexuality, their responses to empire, and their interest in religious belief.

The eleven essays presented by editor Joseph Bristow pay renewed attention to the achievements of such legendary writers as Oscar Wilde, John Davidson, Ernest Dowson, Lionel Johnson, and W.B. Yeats, whose careers have always been associated with the 1890s. This book also explores the lesser-known but equally significant advances made by notable women poets, including Michael Field, Amy Levy, Charlotte Mew, Alice Meynell, A. Mary F. Robinson, and Graham R. Tomson.

The Fin-de-Siecle Poem brings together innovative research on poetry that has been typecast as the attenuated Victorianism that was rejected by Modernism. The contributors underscore the remarkable innovations made in English poetry of the 1880s and 1890s and show how woman poets stood shoulder-to-shoulder with their better-known male contemporaries.Joseph Bristow is professor of English at the University of California, Los Angeles, where he edits the journal Nineteenth-Century Literature. His recent books include The Cambridge Companion to Victorian Poetry, Oscar Wilde: Contextual Conditions, and the variorum edition of Oscar Wilde's The Picture of Dorian Gray.

An innovative study of how a prescient poet imagined ecology and embodiment
 
Larry Eigner (1927–1996) wrote thousands of poems in his lifetime, despite profound physical limitations caused by cerebral palsy. Using only the thumb and index finger of his right hand, Eigner generated a torrent of urgent and rich language, participating in vital correspondences as well as publishing widely in literary magazines and poetry journals.
 
While Eigner wrote before the emergence of ecopoetics, his poetry reflected a serious engagement with scientific writing and media, including Rachel Carson’s seminal Silent Spring. Eigner was writing about environmental disasters and climate change long before such concerns took on a moral incumbency. Similarly, Eigner was ahead of his time in his exploration of disability. The field of disability studies has expanded rapidly in the new millennium. Eigner was not an overtly biographical poet, at least as far as his physical limitations were concerned, but his poetry spoke volumes on the idea of embodiment in all its forms.
 
Finding the Weight of Things: Larry Eigner’s Ecrippoetics is the first full-length study of Eigner’s poetry, covering his entire career from the beginning of his mature work in the 1950s to his last poems of the 1990s. George Hart charts where Eigner’s two central interests intersect, and how their interaction fueled his work as a poet-critic—one whose work has much to tell us about the ecology and embodiment of our futures. Hart sees Eigner’s overlapping concerns for disability, ecology, and poetic form as inextricable, and coins the phrase ecrippoetics here to describe Eigner’s prescient vision.

Elizabeth Hadaway doesn’t just tell stories in her poems, she aims to delight as much as instruct, and her poems are scores for performance. Sparkling with shout-outs to Beowulf and Keats, varied meters, and surprising rhymes, she lifts centuries of hurt and anger into a contrary music. Her reach is vast, including everything from T. S. Eliot to the swans on her vinyl lace shower curtains. She warns us off from stereotypes and misconceptions about Appalachia and the South. Here are short lyrics and long narratives, poems about ballads, baton twirling, hound dogs, Shelley, and NASCAR stars. In “A Refusal to Mourn the Death, by Car, of Dale Earnhardt at Daytona,” she writes about a memorial T-shirt, “his face folded, half / in love with asphalt death.” Fire Baton announces the debut of a talented new poet of wit, vivacity, and color. And no matter how far she roams, she never lets us forget her roots, that she comes from a place “where where’s whirr.”

In her third collection, Indonesian American poet Cynthia Dewi Oka dives into the implications of being parents, children, workers, and unwanted human beings under the savage reign of global capitalism and resurgent nativism. With a voice bound and wrestled apart by multiple histories, Fire Is Not a Country claims the spaces between here and there, then and now, us and not us.

As she builds a lyric portrait of her own family, Oka interrogates how migration, economic exploitation, patriarchal violence, and a legacy of political repression shape the beauties and limitations of familial love and obligation. Woven throughout are speculative experiments that intervene in the popular apocalyptic narratives of our time with the wit of an unassimilable other.

Oka’s speakers mourn, labor, argue, digress, avenge, and fail, but they do not retreat. Born of conflicts public and private, this collection is for anyone interested in what it means to engage the multitudes within ourselves.

The Fire Landscape is a series of poem sequences that chronicle a wide variety of coming-of-age moments from childhood in the 1950s through the beginning of the 21st century. These deeply layered, complex narrative poems are connected by close personal observation of place and time but also by the politics of the Cold War and its aftermath, including a sequence driven by the May 4, 1970, shooting of students by the National Guard at Kent State where Gary Fincke was a student at the time.

In Fire Muse, Cynthia Huntington returns to the back shore of Provincetown and the beach and dunes that inspired her 1999 memoir, The Salt House. Reflecting on place, time, and memory, Huntington’s poems display a kind of ecstasy born of love for her surroundings and a keen awareness of their sweep and details. Attentive to the outer world as well as what lies within, in these poems we find Huntington exploring her deepening bond with a familiar place.

The Agha Shahid Ali Prize in Poetry was inaugurated in 2003 to honor the late poet, a nationally recognized writer and former professor at the University of Utah, and is sponsored by the University of Utah Press and the University of Utah Department of English. Fire Pond is the 2008 prize-winning volume selected by this year’s judge, Medbh McGuckian, poet, editor, and teacher from Belfast.

D. G. (Greg) Geis wades deep into the quotidian, but it’s not your everyday quotidian. He digs into those parts of our daily deeds and damage that other poets might think beneath their notice. Nothing, in fact, is beneath the notice of this cultural Inspector Hound: wry, witty, endlessly curious, and always entertaining in the way good humor is something you get now, something that gets you later. Slightly wicked, always irreverent, yet steeped in the honest working clothes of the social anthropologist, Geis finds stuff, and he lets you know about it. It’s bad-boy philosophy: part Blaise Pascal, zest of Slavoj Zizek, and a smattering of Mallarmé, and there you have Geis on the half-shell. Yet every poem has a chewy Platonic something at its center. In other words, this is the book of poetry you hide from the company, but keep on your night table, where you can find it fast in the small hours, when you need it most.

Occasioned by the birth of a first child and originally spoken aloud into a digital audio recorder on the poet’s long commute between the art museum where he worked and his home in a neighborhood burned in the Witch Creek Fire of 2007, each of the poems in Patrick Coleman’s first book resists the confusions of twenty-first-century parenthood, marriage, art, and commerce. By turns conversational and anxious, metaphysical and self-mocking, celebratory yet permeated by an awareness of life’s flickering ephemerality, Fire Season is a search for gratitude among reasons to be afraid—and proof that a person can pass through the fires and come out the other side alive.

"My mother dreams in Arabic, I dream in Hebrew," says Ronny Someck. Born in 1951, he was uprooted from his native Iraq when he was four. Transplanted to Israel, Someck spent his childhood in a transit camp for new immigrants. There he was surrounded by music, the great singers Umm Kulthum, Farid al Atrash, and Fairuz shouldering up against Elvis Presley and Billie Holiday. No wonder he is so beloved in Israel. In what other poet do we find Tarzan, Marilyn Monroe, and cowboys battling with Rabbi Yehuda Halevi for the hearts and souls of Israelis?

Someck’s poems are rich in slang and distinguished by staccato rhythms, quick cuts, close-ups, and disturbing segues. As in film noir, the sensations are of speed, danger, uncertainty. His distinct Sephardi voice invokes the odors of falafel and schwarma, the army with its supporting cast of recruits and commandos, the bustle of southern Tel Aviv with its small garages, shops, cheap restaurants, its gangs and its Arab workers. He is also the troubadour of the lovelorn, with poems that are hot, erotic, comic, tragic, agape at the wonders of a tear and a tattoo and a snapshot and a bra and a scarecrow.

Fires consists of nine monologues and narratives based on classical Greek stories. Antigone, Clytemnestra, Phaedo, Sappho are all mythical figures whose stories are mingled with contemporary themes. Interspersed are highly personal narratives, reflecting on a time of profound inner crisis in the author's life.

"The unwritten novel among the fantasies and aphorisms of Fires is a classic tale."—Stephen Koch, New York Times Book Review

Finalist for ForeWord Magazine 1999 Poetry Book of the Year

With rapid shifts between subject and tone, sometimes within single poems, Dean Young’s latest book explores the kaleidoscopic welter of art and life. Here parody does not exclude the cri de coeur any more than seriousness excludes the joke. With surrealist volatility, these poems are the result of experiments that continue for the reader during each reading. Young moves from reworkings of creation myths, the index of the Norton Anthology of Poetry, pseudo reports and memos, collaged biographies, talking clouds, and worms, to memory, mourning, sexual playfulness, and deep sadness in the course of this turbulent book.

Herman Melville, Matthew Arnold, Sarah Orne Jewett, Dusty Rhodes, and Hoyt Wilhelm skinny-dip and pick up gondoliers and cut figure eights into the ice in Christopher Bursk’s new collection. But the main cast of characters for these poems is the alphabet itself, “the first inhabitants of Arcadia, / now homesick, curious exiles from Eden.” Here are a boy’s first investigations into the nature of language as he studies the backs of baseball cards, and a young man’s infatuation with the “F-word.” The titles sing their lettered songs: “An Ode to j,” “M-m-m Good!” and “O in Trouble.”

Here are “reading lessons,” the author’s exploration of the curses and blessings of the word. It is about the fall from paradise and the gifts that fall makes possible. And over the whole book broods the great lexicographer, Samuel Johnson, that deeply troubled caretaker of the mother tongue. More than an ABC book, this collection asks questions at the very heart of how we understand the world and shows us the glory and silliness at the heart of human life.

Proceeding from Hélène Cixous’s charge to “kill the false woman who is preventing the live one from breathing,” The Fix forges that woman’s reckoning with her violent past, with her sexuality, and with a future unmoored from the trappings of domestic life. These poems of lyric beauty and unflinching candor negotiate the terrain of contradictory desire—often to darkly comedic effect. In encounters with strangers in dive bars and on highway shoulders, and through ekphrastic engagement with visionaries like William Blake, José Clemente Orozco, and the Talking Heads, this book seeks the real beneath the dissembling surface. Here, nothing is fixed, but grace arrives by diving into the complicated past in order to find a way to live, now.

“Woman Seated with Thighs Apart” 

Often I am permitted to return to this kitchen 

tipsy, pinned to the fridge, to the precise 

instant the kiss smashed in. 

When the jaws of night are grinding 

and the double bed is half asleep 

the snore beside me syncs 

to the traffic light, pulsing red, ragged up 

in the linen curtain. 

I leak such solicitous sighs 

to asphalt, slicked with black ice, high beams speed 

over my body whole 

while the drugstore weeps its remedy 

in strident neon throbs— 

I doubt I’ll make it out. 

It’s a cold country. It’s the sting of quarantine. 

It’s my own two hands working 

deep inside the sheets. 

Fleet River traces the journey of two travelers through landscapes earthly and otherworldly, following the river as it turns, dips underground, then reemerges unexpectedly as they fall in love with the world, as though for the first time. Mimicking the river's shifting course, the poems revise themselves as the book moves forward, turning against their own best discoveries, proving that the pilgrims' journey is less the discovery of love than the re-creation, poem by poem, of love's possibilities.

Eroticism cut from classical mythology, ritual, and intimacy
 
In The Flesh Between Us the speaker explores our connections to each other, whether they be lovely or painful, static or constantly shifting, or, above all, unavoidable and necessary. Intensely and unapologetically homoerotic in content and theme, The Flesh Between Us sensuously conducts the meetings between strangers, between lovers, between friends and family, between eater and eaten, between the soul and the body that contains it. Pushing the boundaries of what has been traditionally acceptable for gay and erotic content and themes, the poems adapt persona, Greek mythology, Judaism, and classic poetic forms to interrogate the speaker’s relationship to god and faith, to love and sex, to mother and father. 
 
Stark and mythical, the imagery draws from the language of animals and nature. Episodes of kink tangle with creatures of forests and lore. In this tumult, the lines of poetry keep a sense of boundary and distance by the seeming incompatibility of their subjects: daybreak and dissection, human and insect, worship and reality. The touch of irreconcilable bodies, in Adkisson’s language, intimates the precise moment of love. The idea of love moves viscerally through rib, lung, throat, and mouth. The poems show how flesh opens in so many ways, in prayers, in bleeds, in ruts. The flesh, opened, begins to swell. If there is guilt in this, Adkisson’s poems refuse the placid satisfaction of confession. Whatever attachments the reader dares to draw must be made with blade or tongue. The reader must commit to the potential violence narrated by these poems.
 

Rebecca Dunham’s thrilling new book is a multilayered account of the struggles and torments faced by women as wives, mothers, and daughters — a psychological journey in which the poet seeks communion with writers from the past, including feminist pioneer Mary Wollstonecraft.

Using the metaphor of a “flight cage,” where birds are held captive, as physical manifestation of the space from which her speakers address us, Dunham reinvigorates the persona poem. Instead of “performing” historical figures such as Wollstonecraft, Dorothy Wordsworth, Anna Akhmatova, and Charlotte Perkins Gilman, she invites them to inhabit her, flickering in and out of sight, refusing an easy artifice.

A virtuoso of the phrase and image, Dunham displays a daring range of prosody. Drawing upon Wollstonecraft’s experimental travel narrative, the poet creates a threshold upon which the traditional “crown of sonnets” can be opened to the sudden breakage of collaged text, remaking both the received form and the now-conventional contemporary experimental poem.

In his newest collection of poetry, Laurence Leiberman widens the scope of his previous Caribbean collections by drawing attention to the small enchanting islands of the Grenadines, a chain running between Grenada and St. Vincent. These outposts, often frequented by sailors, are mainly off the beaten tourist tracks. Lieberman’s poems bring to life all the overlooked people, hidden places, and indigenous but rarely seen animals which can be found on these islands.

These poems are as powerful as voodoo, full of energetic narratives in which Lieberman acts as observer while his characters—native “Caribs” and friends—guide us through the mystifying world of Guyana and the Caribbean: the planting of tree farms, local myths and religious sects, the daily crises of manual laborers working in the gold and diamond mines, and encounters with watras and harpy eagles.

Lieberman’s lines are rhythmic and strong; voices swirl in and out of his stanzas. From Lieberman’s own precise observations to his inclusion of Caribbean dialects, the language created here is deeply textured and unique. The majority of these poems are narratives, stories about a culture that is extremely attuned to the richness of its past. They remind their readers that no matter how diverse a society becomes, it remains irrevocably connected to the land it was born of and the plants and animals that struggle to survive in its midst.

Flight gives testament to the struggle of skin color in contemporary America. Utilizing both innovation and tradition, Chaun Ballard’s poems give voice to the silenced, proof to the disenfranchised, and life to the gone. “The poems in Flight unspool a rich and charmed history of survival into songs that celebrate the miracle of endurance in a country defined by the peculiar phenomenon of race; many of the poems in this collection explore (or allude to) the death of Michael Brown in Ferguson with a brilliance that is underscored by the poet’s extraordinary sense of sound to etch a new reality in our ears.” —Major Jackson

Jennifer Militello’s work is ruminative and lyrical but with an unusually theatrical verve, which is displayed in associative leaps so agile that readers will be exhilarated by the imagination at work (and play) in each poem. This powerfully unified first book grapples with what is simultaneously gigantic and miniscule in human existence: the momentous everyday dramas of love and family.

The first original chivalric poem written by an Italian woman, Floridoro imbues a strong feminist ethos into a hypermasculine genre. Dotted with the usual characteristics—dark forests, illusory palaces, enchanted islands, seductive sorceresses—Floridoro is the story of the two greatest knights of a bygone age: the handsome Floridoro, who risks everything for love, and the beautiful Risamante, who helps women in distress while on a quest for her inheritance. Throughout, Moderata Fonte (1555–92) vehemently defends women’s capacity to rival male prowess in traditionally male-dominated spheres. And her open criticism of women’s lack of education is echoed in the plights of various female characters who must depend on unreliable men.

First published in 1581, Floridoro remains a vivacious and inventive narrative by a singular poet.

Named U.S. Poet Laureate for 2004-2006, Ted Kooser is one of America's masters of the short metaphorical poem. Dana Gioia has remarked that Kooser has written more perfect poems than any poet of his generation.

In Flying at Night: Poems 1965-1985, Kooser has selected poems from two of his earlier works, Sure Signs and One World at a Time (1985). Taken together or read one at a time, these poems clearly show why William Cole, writing in the Saturday Review, called Ted Kooser "a wonderful poet," and why Peter Stitt, writing in the Georgia Review, proclaimed him "a skilled and cunning writer. . . . An authentic 'poet of the American people.'"

“I am reminded of the Argentinean writers Julio Cortázar and Jorge Luis Borges, but with sunglasses and in California. The Flying Garcias is a sure voice and a fine book.”

—Alberto Ríos

Winner of the 1996 Western States Book Award for poetry, Flying Over Sonny Liston explores with courage, compassion, and bone-deep wisdom the complicated and sometimes heartbreaking task of being human in the modern West. Whether he writes about the tortuous interior landscape of the family or the abused terrain of the Nevada desert, Gary Short is unfailingly honest, tender, and gifted with a vision for the all-revealing detail, the larger, wrenching truth. Although many of the poems are about death or express a deep and painful anger, the book is about survival. We often find in these poems a movement from the dark into a blazing light of realization that acts as a counter to sorrow, from comprehension to forgiveness, and an awareness that the daunting challenge of being human is won not in loud victories but through the delicate graces of mercy, trust, and hope.

A keenly observant collection of poems on disaster, aging, and apocalypse. Golda Meir once said, “Old age is like a plane flying through a storm. Once you're aboard, there’s nothing you can do.” The poems in Fleda Brown’s brave collection, her thirteenth, take readers on a journey through the fury of this storm. There are plenty of tragedies to weather here, both personal and universal: the death of a father, a child’s terminal cancer, the extinction of bees, and environmental degradation. Brown’s poems are wise, honest, and deeply observant meditations on contemporary science, physics, family, politics, and aging. With tributes to visionary artists, including Frida Kahlo, Pablo Picasso, and Grandma Moses, as well as to life’s terrors, sadnesses, and joys, these works are beautiful dispatches from a renowned poet who sees the shadows lengthening and imagines what they might look like from the other side.

Folklore—the inherently creative expression, transmission, and performance of cultural traditions—has always provided a deep well of material for writers, musicians, and artists of all sorts. Folklorists usually employ descriptive and analytical prose, but they, like scholars in other social sciences, have increasingly sought new, creative and reflexive modes of discourse. Many folklorists are also creative writers, some well known as such, and the folk traditions they research often provide shape and substance to their work. This collection of creative writing grounded in folklore and its study brings together some of the best examples of such writing.

Contributors to this collection include Teresa Bergen, John Burrison, Norma E. Cantu, Frank de Caro, Holly Everett, Danusha Goska, Neil R. Grobman, Carrie Hertz, Edward Hirsch, Laurel Horton, Rosan Augusta Jordan, Paul Jordan-Smith, Elaine J. Lawless, Cynthia Levee, Jens Lund, Mary Magoulick, Bernard McCarthy, Joanne B. Mulcahy, Kirin Narayan, Ted Olson, Daniel Peretti, Leslie Prosterman, Jo Radner, Susan Stewart, Jeannie Banks Thomas, Jeff Todd Titon, Libby Tucker, Margaret Yocom, and Steve Zeitlin.

In language as perceptive as it is poignant, poet Gwen Nell Westerman builds a world in words that reflects the past, present, and future of the Dakota people. An intricate balance between the singularity of personal experience and the unity of collective longing, Follow the Blackbirds speaks to the affection and appreciation a contemporary poet feels for her family, community, and environment. With touches of humor and the occasional sharp cultural criticism, the voice that emerges from these poems is that of a Dakota woman rooted in her world and her words. In this moving collection, Westerman reflects on history and family from a unique perspective, one that connects the painful past and the hard-fought future of her Dakota homeland. Grounded in vivid story and memory, Westerman draws on both English and the Dakota language to celebrate the long journey along sunflower-lined highways of the tallgrass prairies of the Great Plains that returns her to a place filled with “more than history.” An intense homage to the power of place, this book tells a masterful story of cultural survival and the power of language.

For a Limited TIme Only, Ronald Wallace's eighth collection of poems, is perhaps his darkest and most meditative to date, focusing his experiences with illness, old age, and mortality; his father-in-law's death after a long bout with Alzheimer's; his step-father's death after a  painful struggle with esophageal cancer, his own bout with prostate cancer. These personal experiences form the core of the first three sections of the book, but are mediated by theological and philosophical speculations that find further voice in the character of a “Mr. Grim,” whose angry, self-pitying, gruff, comic, self-depreciating, nostalgic, defeated, and hopeful riffs on the human condition provide a bridge to the affirmative, often comic, close. In the final two sections, in poems in praise of his dentist, his barber, his wife, his grandparents, the morpheme, Mr. Malaprop, Pluto, tattoos, hamburger heaven, sex talk, and poetry itself, Wallace once again proves the resilience of hope and humor in what is, for him, finally a world of wonders.

In For Dear Life, with accessibility, wit, and humor, Ronald Wallace evokes a wide variety of subjects that range from the traditional themes of lyric poetry—love, death, sex, the natural world, marriage, birth, childhood, music, religion, art—to the most unexpected and quirky narratives—an ode to excrement, a catalogue of comic one-liners, a celebratory testimonial to his teeth.

For the Scribe, the ninth collection by award-winning poet David Wojahn, continues his explorations of the interstices between the public and the private, the historical and the personal. Poems of recollection and elegy commingle and conjoin with poems which address larger matters of historical and ecological import. The subjects of extinction and apocalypse figure prominently and obsessively in these pages, both in short lyrics and in several lengthy sequences. The poems also evidence the mastery of technique for which Wojahn is renowned, whether he is writing in fixed forms or in free verse. For the Scribe is the most ambitious and searching collection thus far from a poet who has been a named finalist for the Pulitzer Prize in poetry, winner of the Lenore Marshall Prize from the Academy of American Poets, the O. B. Hardison Award from the Folger Shakespeare Library, and the William Carlos Williams Book Award.

When Donald Justice wrote in “On a Picture by Burchfield” that “art keeps long hours,” he might have been describing his own life. Although he early on struggled to find a balance between his life and art, the latter became a way of experiencing his life more deeply. He found meaning in human experience by applying traditional religious language to his artistic vocation. Central to his work was the translation of the language of devotion to a learned American vernacular. Art not only provided him with a wealth of intrinsically worthwhile experiences but also granted rich and nuanced ways of experiencing, understanding, and being in the world. For Donald Justice—recipient of some of poetry’s highest laurels, including the Pulitzer Prize, the Bollingen Prize, and the Lannan Literary Award for Poetry—art was a way of life.

Because Jerry Harp was Justice’s student, his personal knowledge of his subject—combined with his deep understanding of Justice’s oeuvre—works to remarkable advantage in For Us, What Music? Harp reads with keen intelligence, placing each poem within the precise historical moment it was written and locating it in the context of the literary tradition within which Justice worked. Throughout the text runs the narrative of Justice’s life, tying together the poems and informing Harp’s interpretation of them. For Us, What Music? grants readers a remarkable understanding of one of America’s greatest poets.

from “Mount Fuji”

A draughtsman’s draughtsman, Hokusai at 70
thought he’d begun to grasp the structures
 
of birds and beasts, insects and fish, of the way
plants grow, hoped that by 90 he’d have
penetrated to their essential nature.
 
And more, by 100, I will have reached the stage
where every dot, every mark I make will be
alive. You always loved that resolve, you’d repeat
 
joyfully—Hokusai’s utterance of faith
in work’s possibilities, its reward, that,
at 130, he’d perhaps have learned to draw.
 
Gail Mazur’s poems in Forbidden City  build an engaging meditative structure upon the elements of mortality and art, eloquently contemplating the relationship of art and life—and the dynamic possibilities of each in combination. At the collection’s heart is the poet’s long marriage to the artist Michael Mazur (1935–2009). A fascinating range of tone infuses the book—grieving, but clear-eyed rather than lugubrious, sometimes whimsical, even comical, and often exuberant. The note of pleasure, as in an old tradition enriched by transience, runs through the work, even in the final poem, “Grief,” where “our ravenous hold on the world” is a powerful central element.

During the 1979 revolution, Iranians from all walks of life, whether Muslim, Jewish, Christian, socialist, or atheist, fought side-by-side to end one tyrannical regime, only to find themselves in the clutches of another. When Khomeini came to power, freedom of the press was eliminated, religious tolerance disappeared, women’s rights narrowed to fit within a conservative interpretation of the Quran, and non-Islamic music and literature were banned. Poets, writers, and artists were driven deep underground and, in many cases, out of the country altogether. This moving anthology is a testament to both the centuries-old tradition of Persian poetry and the enduring will of the Iranian people to resist injustice. The poems selected for this collection represent the young, the old, and the ancient. They are written by poets who call or have called Iran home, many of whom have become part of a diverse and thriving diaspora.

Susan Stewart plumbs human history in an attempt to articulate the way language, memory, and art join in evoking consciousness. The Forest is about violence and memory: the violence we do to our surroundings and to ourselves; and the propensity of the human mind to exploit and rationalize in its longing for truth.

Winner of the Tupelo Press / Crazyhorse First Book Prize

The Forest of Sure Things is a layered sequence of poems set in a remote, historic village at the tip of a peninsula on the Northwest Coast, near where Lewis and Clark encountered the Pacific. A pair of newlywed drifters has arrived and settled there, starting the town’s first new family in a hundred years. When their second child is stillborn, the bereft family unravels and un-roots themselves. Megan Snyder-Camp’s poems reveal — like the shoreline exposed by a neap tide — an emotional landscape pressed upon and buckling under the complications of grief and the difficulties of language.

With hypnotic, incantatory phrasing and imagery and an innovative approach to chronology, Snyder-Camp tells the story of the grieving couple, then dramatizes the impact of this enigmatic story on her imagination, her artistic practice, and her own new beginnings in married life and parenthood.

Based in part upon a brief, true story she was told, Snyder-Camp’s mysterious yet uncommonly compelling poetic sequence will draw the reader as if along a current pulling through the book. Acknowledging the importance of Anne Carson’s Autobiography of Red and Italo Calvino’s Invisible Cities, Snyder-Camp has spoken of her fascination with where language frays, as we try and use “story” to create what we remember and see where we are. What happens in a place, or a family, or a body, when time catches, or stops?

In her debut book of poems, knit together with personal essays, Mehta explores her own cultural history— Indian Jainism and American Judaism—as well as her ideas about faith, feminism, and family.

Engaging the past and present, these poems attempt to reconcile loss and longing while also seeking to understand our own impermanence. Written in a plain-spoken voice, they are meditative, elegiac and tender.

“Was it a crater or a sinkhole?” asks a voice in one of the mysterious, wonderstruck poems in Christopher Bolin’s Form from Form, whose cadences modulate with the energies of form-making, deformation, and elusive reformation. Natural forms and forms of human manufacture, forms of absence and those of urgent desire construct and deconstruct each other in Bolin’s singular music, which blends unnerving plainness and obliqueness, the childlike and the alien. 

As their sites drift from workers’ camps to city squares, isolated coasts to windswept plains, the poems in Form from Form trace a map of a fragmented ecology, dense with physical detail of altered landscapes and displaced populations. In tones of austere beauty and harsh discordance, these poems provide a “field guide to luminescent things,” a visionary fretwork of the possibilities and impossibilities of faith in the present moment. 

With Forms of Discover, Yvor Winters completes his critical canon. The distinguished poet-critic defines by analysis and example the development of the method that he has called “post-Symbolist.”

Starting with the styles of the English Renaissance, Winters discusses at length the felicities and shortcomings of these traditions, the main defect being that sensory imagery was little more than ornament. This sets the problem: to discover a style wherein both the conceptual and the perceptual are given their fullest expression

In the work of Charles Churchill, Winters explores the development of a complexly controlled associational procedure. Here is a richly varied conceptual method, though the sensory is still almost totally absent.

Churchill’s methods and those of the Renaissance masters are then contrasted with the work of the Romantics, who wrote a great deal about nature without bothering to look at it, and whose most lasting contribution would appear to be pathetically sentimental fallacies.

The turn of the century, in France, Britain, and America, sees the beginning of the post-Symbolist methods, while Yeats continues the retrograde movement of the Romantics. It is in the work of poets like Tuckerman, Hardy, Bridges, Stevens, T. Sturge Moore, and Paul Valéry that rational discourse combines richly with the perceptual universe in which we live: the particular perception is enhance by reference to general concepts, the general given substance by the particular exemplifying it.

The post-Symbolist methods result in a poetry that unifies the diverse fields of human experience and employs all aspects of language.

Style in Winters’ sense is not simply a way of gracefully combining words. It is the way a man lives, the method or art wherein he discovers to the best of his ability the real nature of the world in which he lives. It is in this sense that Forms of Discovery is a philosophical work, not a miscellaneous collection of essays; this book is, as Winters remarks, “an act of piety, not an act of destruction.”

Expanding the boundaries of both genre and gender, contemporary American women are writing long poems in a variety of styles that repossess history, reconceive female subjectivity, and revitalize poetry itself. In the first book devoted to long poems by women, Lynn Keller explores this rich and evolving body of work, offering revealing discussions of the diverse traditions and feminist concerns addressed by poets ranging from Rita Dove and Sharon Doubiago to Judy Grahn, Marilyn Hacker, and Susan Howe.

Arguing that women poets no longer feel intimidated by the traditional associations of long poems with the heroic, public realm or with great artistic ambition, Keller shows how the long poem's openness to sociological, anthropological, and historical material makes it an ideal mode for exploring women's roles in history and culture. In addition, the varied forms of long poems—from sprawling free verse epics to regular sonnet sequences to highly disjunctive experimental collages—make this hybrid genre easily adaptable to diverse visions of feminism and of contemporary poetics.

Who are the lords of labor? The owners, or the working bodies? In this smart, ambitious, and powerful book, David Gewanter reads the body as creator and destroyer—ultimately, as the broken mold of its own work.

Haunted by his father’s autopsy of a workman he witnessed as a child, Gewanter forges intensely personal poems that explore the fate of our laboring bodies, from the Carnegie era’s industrial violence and convict labor to our present day of broken trust, profiteering, and the Koch brothers. Guided by a moral vision to document human experience, this unique collection takes raw historical materials—newspaper articles, autobiography and letters, court testimony, a convict ledger, and even a menu—and shapes them into sonnets, ballads, free verse, and prose poems. The title poem weaves a startling lyric sequence from direct testimony by steelworkers and coal-miners, strikers and members of prison chain-gangs, owners and anarchists, revealing an American empire that feeds not just on oil and metal, but also on human energy, impulse, and flesh. Alongside Gewanter’s family are hapless souls who dream of fortune, but cannot make their fates, confronting instead the dark outcomes of love, loyalty, fantasy, and betrayal. 

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.

Centered on the adoption of a gay couple’s first child, The Foundling Wheel employs apt imagery to create an emotional mosaic that explores the complicated bond between father and son. Beginning in a place where the desire to have a child has not yet been realized, this book is a journey, and while the poems certainly rejoice in fatherhood, they also grapple with the fears that accompany it.

We fill our days with matter and clutter, objects that might disappear inside their particular and necessary function: soap, a wineglass, nightgown, or thumb. Do we truly think about what the bedroom door has witnessed? Or the fountain, with its sculpture of a boy standing naked in a city square? Like Francis Ponge, Gertrude Stein, Seamus Heaney, and Pablo Neruda, Bar-Nadav makes a poetic investigation of objects to illuminate their visceral and playful potential in our lives.