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Poetry
A Village Life, Louise Glück's eleventh collection of poems, begins in the topography of a village, a Mediterranean world of no definite moment or place:
All the roads in the village unite at the fountain.
Avenue of Liberty, Avenue of the Acacia Trees-
The fountain rises at the center of the plaza;
on sunny days, rainbows in the piss of the cherub.
-from "tributaries"
Around the fountain are concentric circles of figures, organized by age and in degrees of distance: fields, a river, and, like the fountain's opposite, a mountain. Human time superimposed on geologic time, all taken in at a glance, without any undue sensation of speed.
Glück has been known as a lyrical and dramatic poet; since Ararat, she has shaped her austere intensities into book-length sequences. Here, for the first time, she speaks as "the type of describing, supervising intelligence found in novels rather than poetry," as Langdon Hammer has written of her long lines-expansive, fluent, and full-manifesting a calm omniscience. While Glück's manner is novelistic, she focuses not on action but on pauses and intervals, moments of suspension (rather than suspense), in a dreamlike present tense in which poetic speculation and reflection are possible.
WINNER OF THE NOBEL PRIZE IN LITERATURE
A dreamlike collection from the Nobel Prize-winning poet
From the author of A Cure for Suicide and Census comes a philosophical recasting of myth and legend, folklore and popular culture: a fabulist's compendium of poetry and prose.
Jesse Ball--long-listed for the National Book Award, a finalist for the New York Public Library's Young Lions Fiction Award, and named one of Granta's best young American novelists--is one of the most interesting, lyrical, fanciful, and "disturbingly original" (Chicago Tribune) writers working today. And The Village on Horseback is one of his most dazzling and varied works. These experimental pieces--including the Paris Review's Plimpton Prize-winning novella "The Early Deaths of Lubeck, Brennan, Harp & Carr"--ask the reader not to imagine the world for what it is, but for what it could be: a blank tableau on which a spirited imagination can conjure tales out of, seemingly, nothing.
The Village on Horseback is an unmissable treat, a book of voyages to be taken on journeys far and wide.
From Robert Lowell and Elizabeth Bishop, John Ashbery and Adrienne Rich, to Robert Haas and Louise Glück, this anthology takes the full measure of our poetry's daring energies and its tender understandings. Other poets include:
Sylvia Plath
James Merrill
Amy clampitt
Jorie Graham
W. S. Merwin
Charles Simic
Allen Ginsberg
Frank O'Hara
Anne Sexton
Robert Creeley
Sharon Olds
Mary Oliver
Robert Pinsky
Mark Strand
Denise Levertov
Richard Wilbur
May Swenson
Michael Palmer
Mark Doty
Yusef Komunyakaa
Bangladesh--Taslima Nasrin
Chile--Pablo Neruda
China--Bei Dao, Shu Ting
El Salvador--Claribel Alegria
France--Yves Bonnefoy
Greece--Odysseus Elytis, Yannis Ritsos
India--A.K. Ramanujan
Israel--Yehuda Amichai
Japan--Shuntaro Tanikawa
Mexico--Octavio Paz
Nicaragua--Ernesto Cardenal
Nigeria--Wole Soyinka
Norway--Tomas Transtromer
Palestine--Mahmoud Darwish
Poland--Zbigniew Herbert, Czeslaw Milosz
Russia--Joseph Brodsky, Yevgeny Yevtushenko
Senegal--Leopold Sedar Senghor
South Africa--Breyten Breytenbach
St. Lucia, West Indies--Derek Walcott
I drank, alone nights at the kitchen sink,
bathrobed, my head hatching snakes,
while my baby slept in his upstairs cage
and my marriage choked to death Precise and surprising, Karr's poems "take on the bedevilments of fate and grief with a diabolical edge of their own" (Poetry). Also included is Karr's controversial and prize-winning essay "Against Decoration," in which she took aim against the verbal ornaments that too often pass for poetry these days-the "new formalism" that elevates form to an end itself.
To write what is human, not escapist, is Henri Cole's endeavor. In The Visible Man he pursues his aim by folding autobiography and memory into the thirty severe and fiercely truthful lyrics--poems presenting a constant tension between classical repose and the friction of life--that make up this exuberant book. This work, wrote Harold Bloom, persuades me that Cole will be a central poet of his generation. The tradition of Wallace Stevens and Hart Crane is beautifully extended in The Visible Man, particularly in the magnificent sequence 'Apollo.' Keats and Hart Crane are presences here, and Henri Cole invokes them with true aesthetic dignity, which is the mark of nearly every poem in The Visible Man.
This unique anthology gathers work by eighty poets inspired by Emily Dickinson. Beginning with Hart Crane's 1927 poem "To Emily Dickinson" and moving forward through the century to such luminary figures as Archibald MacLeish, John Berryman, Yvor Winters, Adrienne Rich, Richard Eberhart, Richard Wilbur, Maxine Kumin, Amy Clampitt, William Stafford, and Galway Kinnell, Visiting Emily offers both a celebration of and an homage to one of the world's great poets.
If there was ever any doubt about Dickinson's influence on modern and contemporary poets, this remarkable collection surely puts it to rest. Gathered here are poems reflecting a wide range of voices, styles, and forms--poems written in traditional and experimental forms; poems whose tones are meditative, reflective, reverent and irreverent, satirical, whimsical, improvisational, and serious. Many of the poets draw from Dickinson's biography, while others imagine events from her life. Some poets borrow lines from Dickinson's poems or letters as triggers for their inspiration. Though most of the poems connect directly to Dickinson's life or work, for others the connection is more oblique.
"I am incapable of succinctly praising this poet's immense talent." --TERRANCE HAYES
Often the most recognized, even brutal, events in American history are segregated by a politicized, racially divided "Color Line." But how do we privately experience the most troubling features of American civilization? Where is the Color Line in the mind, in the body, between bodies, between human beings?
Selected for the National Poetry Series by Dan Beachy-Quick, Ed Pavlic's Visiting Hours at the Color Line attempts to complicate this black and white, straight-line feature of our collective imagination, and to map its nonlinear, deeply colored timbres and hues. From daring prose poems to powerful free verse, Pavlic's lines are musically infused, bearing tones of soul, R & B, and jazz. They link the influence of James Baldwin with a postmodern consciousness descended from Samuel Beckett, tracking the experiences of American characters through situations both mundane and momentous. The resulting poems are intense, ambitious, and psychological, making Visiting Hours at the Color Line a poetic tour de force.