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Poetry
Winner of the American Poetry Review/Honickman First Book Award.
"Matthew Dickman's all-American poems are the epitome of the pleasure principle; as clever as they are, they refuse to have ulterior intellectual pretensions; really, I think, they are spiritual in character--free and easy and unself-conscious, lusty, full of sensuous aspiration. . . . We turn loose such poets into our culture so that they can provoke the rest of us into saying everything on our minds."--Tony Hoagland, APR/Honickman First Book Prize judge
Dickman crystallizes and celebrates human contact, reminding us...that our best memories, those most worth holding on to, those that might save us, will be memories of love....The background, then, is a downbeat America resolutely of the moment; the style, though, looks back to the singing free verse of Walt Whitman and Frank O'Hara....(Dickman's) work sings with all the crazy vereve of the West. --Los Angeles Times
Toughness with a smile....(Dickman) breathes the air of Whitman, Kerouac, O'Hara, and Koch, each of whom pushed against the grain of what poetry and writing was supposed to be in their times. --New Haven Review
All American Poem plumbs the ecstatic nature of our daily lives. In these unhermetic poems, pop culture and the sacred go hand in hand. As Matthew Dickman said in an interview, he wants the "people from the community that I come from"--a blue-collar neighborhood in Portland, Oregon--to get his poems. "Also, I decided to include anything I wanted in my poems. . . . Pepsi, McDonald's, the word 'ass.'"
There is no one to save us
because there is no need to be saved.
I've hurt you. I've loved you. I've mowed
the front yard. When the stranger wearing a sheer white dress
covered in a million beads
slinks toward me like an over-sexed chandelier suddenly come to life,
I take her hand in mine. I spin her out
and bring her in. This is the almond grove
in the dark slow dance.
It is what we should be doing right now. Scraping
for joy . . .
Short, sharp musings on things profound and mundane (and sometimes both) from the Pulitzer Prize winning poet
C. K. Williams has never been afraid to push the boundaries of poetic form--in fact, he's known for it, with long, lyrical lines that compel, enthrall, and ensnare. In All at Once, Williams again embodies this spirit of experimentation, carving out fresh spaces for himself and surprising his readers once more with inventions both formal and lyrical.
Somewhere between prose poems, short stories, and personal essays, the musings in this collection are profound, personal, witty, and inventive--sometimes all at once. Here are the starkly beautiful images that also pepper his poems: a neighbor's white butane tank in March glares in the sunlight, raw and unseemly, like a breast inappropriately unclothed in the painful chill. Here are the tender, masterful sketches of characters Williams has encountered: a sign painter and skid-row denizen who makes an impression on the young soon-to-be poet with his terrific focus, an intensity I'd never seen in an adult before. And here are a husband's hymns to his beloved wife, to her laughter, which always has something keen and sweet to it, an edge of something like song.
This is a book that provokes pathos and thought, that inspires sympathy and contemplation. It is both fiercely representative of Williams's work and like nothing he's written before--a collection to be admired, celebrated, and above all read again and again.
Short, sharp musings on things profound and mundane (and sometimes both) from the Pulitzer Prize winning poet
C. K. Williams has never been afraid to push the boundaries of poetic form--in fact, he's known for it, with long, lyrical lines that compel, enthrall, and ensnare. In his latest work, All at Once, Williams again embodies this spirit of experimentation, carving out fresh spaces for himself and surprising his readers once more with inventions both formal and lyrical.
Somewhere between prose poems, short stories, and personal essays, the musings in this collection are profound, personal, witty, and inventive--sometimes all at once. Here are the starkly beautiful images that also pepper his poems: a neighbor's white butane tank in March glares in the sunlight, raw and unseemly, like a breast inappropriately unclothed in the painful chill. Here are the tender, masterful sketches of characters Williams has encountered: a sign painter and skid-row denizen who makes an impression on the young soon-to-be poet with his terrific focus, an intensity I'd never seen in an adult before. And here are a husband's hymns to his beloved wife, to her laughter, which always has something keen and sweet to it, an edge of something like song.
This is a book that provokes pathos and thought, that inspires sympathy and contemplation. It is both fiercely representative of Williams's work and like nothing he's written before--a collection to be admired, celebrated, and above all read again and again.
On the heels of his much-lauded debut collection, Raymond Antrobus continues his essential investigation into language, miscommunication, place, and memory in All The Names Given, while simultaneously breaking new ground in both form and content.
The collection opens with poems about the author's surname--one that shouldn't have survived into modernity--and examines the rich and fraught history carried within it. As Antrobus outlines a childhood caught between intimacy and brutality, sound and silence, and conflicting racial and cultural identities, the poem becomes a space in which the poet reckons with his own ancestry, and bears witness to the indelible violence of the legacy wrought by colonialism. The poems travel through space--shifting fluidly between England, South Africa, Jamaica, and the American South--and brilliantly move from an examination of family history into the wandering lust of adolescence and finally, vividly, into a complex array of marriage poems--matured, wiser, and more accepting of love's fragility. Throughout, All The Names Given is punctuated with [Caption Poems] partially inspired by Deaf sound artist Christine Sun Kim, in which the art of writing captions attempts to fill in the silences and transitions between the poems as well as moments inside and outside of them.
Formally sophisticated, with a weighty perception and startling directness, All The Names Given is a timely, tender book full of humanity and remembrance from one of the most important young poets of our generation.
A career-spanning volume charting the Nobel laureate's work in the ode form
Pablo Neruda was a master of the ode, which he conceived as an homage to just about everything that surrounded him, from an artichoke to the clouds in the sky, from the moon to his own friendship with Federico García Lorca and his favorite places in Chile. He was in his late forties when he committed himself to writing an ode a week, and in the end he produced a total of 225, which are dispersed throughout his varied oeuvre. This bilingual volume, edited by Ilan Stavans, a distinguished translator and scholar of Latin American literature, gathers all Neruda's odes for the first time in any language. Rendered into English by an assortment of accomplished translators, including Philip Levine, Paul Muldoon, Mark Strand, and Margaret Sayers Peden, collectively they read like the personal diary of a man in search of meaning who sings to life itself, to our connections to one another, and to the place we have in nature and the cosmos. All the Odes is also a lasting statement on the role of poetry as a lightning rod during tumultuous times.
Here starts the journey
Every day for the past six years, Tyler Knott Gregson has written a simple haiku about love, and posted it online. These heartfelt poems have attracted a large and loyal following around the world. This highly anticipated follow-up to Chasers of the Light, presents Tyler's favorites, some previously unpublished, accompanied by his signature photographs, which capture the rich texture of daily life.
Here is the good stuff: poetry written by women that actually excites the thinking reader. This anthology, spanning work of the last 75 years, will broaden its readers' notions of what defines erotic poetry. For what is more intriguing, more satisfying than strong, self-assured writing?
This groundbreaking anthology includes some of our most powerful women writers--among them Sharon Olds, Elizabeth Alexander, Anne Sexton, Dorianne Laux, Denise Levertov, Adrienne Rich, Lucille Clifton, and Louise Glück. These poets fully demonstrate that, far from being prurient, the erotic can permeate even the most mundane aspects of life, from reading a book to buying clothes.
At the same time, the collection affirms the enormous meaningfulness of poetry--its ability to express the inexpressible and to illuminate the most private and intimate of human experiences. The poets included here represent different ethnicities, geographies, social classes, and sexual preferences. The only characteristic they share is that they are women writing about sex.
While the poems in Steve Straight''s new collection lead the reader "into the dark forest of memory / or onto the carnival ride of hypothesis, / or even right off the cliff of surprise," they maintain a sure course through the din and distraction of modern life. Bits of news from the natural sciences, chance encounters, and even convicted felon and crafting queen Martha Stewart all fall under Straight's observant eye. The result is a collection of conversational poems that lend a sense of wonder to the commonplace.
