LITMIR.BIZ

<P>Since issuing its first volumes in 1959, the Wesleyan poetry program has challenged the reigning aesthetic of the time and profoundly influenced the development of American poetry. One of the country's oldest programs, its greatest achievement has been the publication of early works by yet undiscovered poetry who have since become major awarded Pulitzer and Bollingen prizes, National Book Awards, and many other honors. At a time when other programs are being phased out, Wesleyan takes this opportunity to celebrate its distinguished history and reaffirm its commitment to poetry with publication of The Wesleyan Tradition.</P><P>Drawing from some 250 volumes, editor Michael Collier documents the wide-ranging impact of these works. In his introduction, he describes the literary and cultural context of American poetics in more recent decades, tracing the evolution of the Deep Image and Confessional movements of the 50s and 60s, and exploring the emergence of the «prose lyric» style. Although the success of the Wesleyan program has inspired its share of imitators, no other program has had such a fundamental impact. Works by the eighty-six poets included her both document and celebrate that contribution.</P>

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<P>The poems of Robert Bly are rooted deep in the earth. Snow and sunshine, barns and cornfields and cars on the empty nighttime roads, abandoned Minnesota lakes and the mood of America now—these are his materials. He sees and talks clearly: he uses no rhetoric nor mannered striving for effect, but instead the simple statement that in nine lines can embody a mood, reveal a profound truth, illuminate in an important way the inward and hidden life. This is a poet of the modern world, thoroughly aware of the complexities of the moment but equally mindful of the great stream of life—all life—of which mankind is only a part.</P>

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<P>In RENDANG, Will Harris complicates and experiments with the lyric in a way that urges it forward. With an unflinching yet generous eye, RENDANG is a collection that engages equally with the pain and promise of self-perception. Drawing on his Anglo-Indonesian heritage, Harris shows us new ways to think about the contradictions of identity and cultural memory. He creates companions that speak to us in multiple languages; they sit next to us on the bus, walk with us through the crowd, and talk to us while we're chopping shallots. They deftly ask us to consider how and what we look at, as well as what we don't look at and why. </P><P>Playing eruditely with and querying structures of narrative, with his use of the long poem, the image, ekphrasis, and ruptured forms, RENDANG is a startling new take on the self, and how an identity is constructed. It is intellectual and accessible, moving and experimental, and combines a linguistic innovation with a deep emotional rooting.</P>

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<P>Dancing between lyric and narrative, Hafizah Geter's debut collection moves readers through the fraught internal and external landscapes—linguistic, cultural, racial, familial—of those whose lives are shaped and transformed by immigration. The Nigerian-born daughter of a Nigerian-Muslim woman and a Black man born into a Southern Baptist family in the Jim Crow South and George Wallace's Alabama, Geter charts the history of a Black family of mixed citizenships through poems complicated by migration, language, racism, queerness, loss, belief and lapsed faith, and the heartbreak of trying to feel at home in a country that does not recognize you. Amidst considerations of family and country, Geter weaves in testimonies for Black victims of police brutality, songs of lament that hone each tragedy and like Antigone, demand we bear intimate witness to the ethical failings of the state. Through her mother's death and her father's illnesses, we witness Geter lace the natural world into the discourse of grief, human interactions, and socio-political discord in a collection rich with unflinching intimacy that, turning outward to face the country, examines how all of this is, like the speaker herself, stretched between the context of two nations. This collection that thrums with authenticity and heart.</P>

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<P>A Forest of Names presents a never-before-seen form of poetic translation that is in turns a haunting indictment of political corruption, a healing tribute to people whose names have been erased, and a stunning meditation on how the roots of language suggest a new path forward. When an earthquake in China toppled schools, burying the children inside, the Chinese government brutally prevented parents from learning who died, how many, and why—and forbid revealing the names of the children. Following artist Ai Weiwei's gathering of their names, at risk to his own safety, poet and artist Ian Boyden provides poetic meditations on them. His image-driven investigations of the etymologies of the names provide a new kind of translation, one that bridges the origins of language and what those origins grow to evoke. This haunting, heart-breaking, and ultimately triumphant book questions what it means to be human in an age where memory is too often treated as a crime, and what happens when language must become unforgettable.</P>

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<P>In the shadow of the American Revolution, a young, African American woman named Phillis Wheatley published a book of poetry, Poems on various Subjects, Religious and Moral (1773). When Wheatley's book appeared, her words would challenge Western prejudices about African and female intellectual capabilities. Her words would astound many and irritate others, but one thing was clear: this young woman was extraordinary. Based on fifteen years of archival research, The Age of Phillis, by award-winning writer Honorée Fanonne Jeffers, imagines the life and times of Wheatley: her childhood with her parents in the Gambia, West Africa, her life with her white American owners, her friendship with Obour Tanner, her marriage to the enigmatic John Peters, and her untimely death at the age of about thirty-three. </P><P>Woven throughout are poems about Wheatley's «age»—the era that encompassed political, philosophical, and religious upheaval, as well as the transatlantic slave trade. For the first time in verse, Wheatley's relationship to black people and their individual «mercies» is foregrounded, and here we see her as not simply a racial or literary symbol, but a human being who lived and loved while making her indelible mark on history.</P>

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<P>For the first time in English, readers can now evaluate the extraordinary breadth of César Vallejo's diverse oeuvre that, in addition to poetry, includes magazine and newspaper articles, chronicles, political reports, fictions, plays, letters, and notebooks. Edited by the translator Joseph Mulligan, Selected Writings follows Vallejo down his many winding roads, from Santiago de Chuco in highland Peru, to the coastal cities of Trujillo and Lima, on to Paris, Madrid, Moscow, and Leningrad. This repeated border-crossing also plays out on the textual level, as Vallejo wrote prolifically across genres and, in many cases, created poetic space in extra-literary modes. Informed by a vast body of scholarly research, this compendium synthesizes a restored literary corpus and—in bold translations that embrace the idiosyncratic spirit of the author's writing—puts forth a new representation of this essential figure of twentieth-century Latin American literature as an indispensable alternative to the European avant-garde. Compiling well known versions with over eighty percent of the text presented in English translation for the first time, Selected Writings is both a trove of and tribute to Vallejo's multifaceted work. Includes translations by the editor and Clayton Eshleman, Pierre Joris, Suzanne Jill Levine, Nicole Peyrafitte, Michael Lee Rattigan, William Rowe, Eliot Weinberger, and Jason Weiss.</P>

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<P>Favor of Crows is a collection of new and previously published original haiku poems over the past forty years. Gerald Vizenor has earned a wide and devoted audience for his poetry. In the introductory essay the author compares the imagistic poise of haiku with the early dream songs of the Anishinaabe, or Chippewa. Vizenor concentrates on these two artistic traditions, and by intuition he creates a union of vision, perception, and natural motion in concise poems; he creates a sense of presence and at the same time a naturalistic trace of impermanence. </P><P>The haiku scenes in Favor of Crows are presented in chapters of the four seasons, the natural metaphors of human experience in the tradition of haiku in Japan. Vizenor honors the traditional practice and clever tease of haiku, and conveys his appreciation of Matsuo Basho and Yosa Buson in these two haiku scenes, «calm in the storm / master basho soaks his feet /water striders,» and «cold rain / field mice rattle the dishes / buson's koto.»</P><P>Vizenor is inspired by the sway of concise poetic images, natural motion, and by the transient nature of the seasons in native dream songs and haiku. «The heart of haiku is a tease of nature, a concise, intuitive, and an original moment of perception,» he declares in the introduction to Favor of Crows. «Haiku is visionary, a timely meditation and an ironic manner of creation. That sense of natural motion in a haiku scene is a wonder, the catch of impermanence in the seasons.» Check for the online reader's companion at favorofcrows.site.wesleyan.edu.</P>

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