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Peter Coyote’s first collection of poetry takes us on a whirlwind tour of an eclectic and exciting life as an actor and Zen Buddhist priest, meandering from love affairs to marriage to divorce to the Sixties to psychedelic spirituality and beyond.  Written over several decades, these poems read as a collage, each piece distinct and contributing to a cohesive lyric narrative.

Peter Coyote’s first collection of poetry takes us on a whirlwind tour of an eclectic and exciting life as an actor and Zen Buddhist priest, meandering from love affairs to marriage to divorce to the Sixties to psychedelic spirituality and beyond.  Written over several decades, these poems read as a collage, each piece distinct and contributing to a cohesive lyric narrative.

What does it really mean when people are viewed as bytes of data? And is there beauty or an imaginative potential to information culture and the databases cataloging it? As Too Numerous reveals, the raw material of bytes and data points can be reshaped and repurposed for ridiculous, melancholic, and even aesthetic purposes. 

Grappling with an information culture that is both intimidating and daunting, Kent Shaw considers the impersonality represented by the continuing accumulation of personal information and the felicities—and barriers—that result: “The us that was inside us was magnificent structures. And they weren't going to grow any larger.”

Eleanor Wilner’s poems attempt to absorb the shock of the wars and atrocities of the twentieth and early twenty-first centuries. In their litany of loss, in their outrage and sorrow, they retain the joy in life, mercy for the mortal condition, and praise for the plenitude of nature and the gifts of human artistry.

As with her six earlier collections, these poems are drawn from the transpersonal realm of history and cultural memory, but they display an increasing horror at the bloody repetitions of history, its service of death, and the destructive savagery of power separated from intelligence and restraint. The poems describe “a sordid drama” in which the players wear “eyeless masks,” and the only thing time changes is the name of the enemy. Underneath it all, driving “the art that” in both senses “keeps nothing at bay,” swim the enormous formal energies of life, the transitive figure that moves on in the depths, something glimpsed in the first light, something stronger than hope. 

“It is a relief to come across work in which a moral intelligence is matched by aesthetic refinement, in which the craft of the poems is equal to their concerns.”--Christian Wiman, Poetry

In her second book of poetry, Jo McDougall takes her readers to the dusty prairie towns of the central states, places where the flat terrain belies a complex human landscape. In short, dceptively simple lines, McDougall can so keenly trace the lineaments of place and era that her subject stands before us, its essence displayed and made timeless.

Quietly, with an almost aphoristic bit, McDougall writes about ordinary lives and small towns in a way that her readers may never forget.

One winter morning, poet Dawn Potter sat down at her desk in Harmony, Maine, and began copying out the opening lines of John Milton's Paradise Lost. Her intent was to spend half an hour with a poem she had never liked, her goal to transcribe a page or two. Maybe she would begin to appreciate the poet's art, though she had no real expectations that the exercise would change her mind about the poem. Yet what began as a whim turned rapidly into an obsession, and soon Potter was immersed in a strange and unexpected project: she found herself copying out every single word of Milton's immense, convoluted epic.

Tracing Paradise: Two Years in Harmony with John Milton is her memoir of that long task. Over the course of twelve chapters, Potter explores her very personal response to Milton and Paradise Lost, tracing the surprising intersections between a seventeenth-century biblical epic and the routine joys and tragedies of domestic life in contemporary rural Maine. Curious, opinionated, and eager, she engages with the canon on mutable, individual terms. Though she writes perceptively about the details and techniques of Milton's art, always her reactions are linked to her present-tense experiences as a poet, small-time farmer, family member, and citizen of a poor and beleaguered north-country town.

A skilled and entertaining writer, Potter is also a wide-ranging and sophisticated reader. Yet her memoir is not a scholarly treatise: her enthusiasms and misgivings about both Milton and Paradise Lost ebb and flow with the days. Tracing Paradise reminds us that close engagement with another artist's task may itself be a form of creation. Above all, Potter's memoir celebrates one reader's difficult yet transformative love affair with Milton's glorious, irritating, inscrutable masterpiece.

In Trajectories, poet, translator, human rights advocate, and world traveler Carolyne Wright maps her poetic path in the crossing of cultural, linguistic, and national boundaries. From her origins in Seattle and the Pacific Northwest through Latin America (Chile, Brazil) and South Asia (India, Bangladesh) through languages spoken in these regions (Spanish, Portuguese, and Bengali), Wright recalls and relives the poetic trajectory as well as the seeming tangents that one poet’s relatively uncommon life has taken. She pays tribute to poetic mentors of the “Northwest School,” to Bengali and Chilean women poets, to the poetry and music of Brazil, and to poets such as Elizabeth Bishop, Ted Hughes, and Sylvia Plath.

Throughout her essays and interviews and across a wide range of literary interests, Wright explores connections between family and national history, intersections of personal and public spheres, and the poetics of the era in which she moves. She connects lyricism to social engagement, witnessing contemporary and historical issues while remaining committed to the heightened, musical language of lyric poetry. Both personal and political, a compelling story and a work of criticism, Trajectories seeks essential insights into poetry as a path of discovery across the cartography of the human heart. Wright offers these experiences and insights as a map for readers who wish to share the journey.

A prominent avant-garde poet charts both her personal artistic development and the difficulties faced by women writers pursuing innovative paths.

An accomplished and influential poet, Kathleen Fraser has been instrumental in drawing attention to other women poets working outside the mainstream. Translating the Unspeakable gathers eighteen of her essays written over nearly twenty years, combining autobiography and criticism to examine what it means for any artist to innovate instead of following an already traveled path.

In autobiographical passages Fraser tells how her generation was influenced by revolutions in art and philosophy during the early 1960s and how she spent years pursuing idiosyncratic means of rediscovering the poem's terms. By the 1970s her evolving poetics were challenged by questions of gender, until immersion in feminist/modernist scholarship led her to initiate greater dialogue among experimentalist poets. 

Other essays examine modernist women writers, their contemporary successors, and the visual poetics they have practiced. By exploring the work of such poets as H. D., Mina Loy, Lorine Niedecker, and Barbara Guest, Fraser conveys their struggle to establish a presence within accepted poetic conventions and describes the role experimentation plays in helping women overcome self-imposed silence.

All of Fraser's writings explore how the search to find one's own way of speaking into a very private yet historic space—of translating the unspeakable—drives poetic experimentation for women and men alike. This provocative book provides a glimpse into the thought processes of
the poetic mind, enhancing our understanding of innovative writing.
 

In the study of sound waves and optics, the term transmission loss refers to how a signal grows weaker as it travels across distance and between objects. In this book, Chelsea Jennings reimagines the term in poems that register attenuated signals, mark presence and loss, and treat the body as an instrument sensitive to the weather of immediate experience. Threading together landscapes, abstract paintings, family heirlooms, maps, manuscripts, and photographs, these poems follow the seasons and traverse the spectrum of visible light. Vivid and precise, Transmission Loss brings us to the boundary between inside and outside, “As if what the hand knows / could be held in the hand.”

Thomas’s short, musical poems make stops in the terrains of childhood, difficult and somewhat violent; middle life, with parents breaking down and children moving away into their own lives; and later life when memory falters but passion does not.

Trickster Academy is a collection of poems that explore being Native in Academia—from land acknowledgement statements, to mascots, to the histories of using Native American remains in anthropology. Jenny L. Davis’ collection brings humor and uncomfortable realities together in order to challenge the academy and discuss the experience of being Indigenous in university classrooms and campuses. Organized around the premise of the Trickster Academy— a university space run by, and meant for training, Tricksters— this collection moves between the personal dynamics of a Two-Spirit/queer Indigenous woman in spaces where there are few, if any, others and a Trickster’s critique of those same spaces.