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Аннотация
From one of our finest poets comes a collection about time—about memory, remembrance, and how the past makes itself manifest in the world.<br><br> Called “the poet of things” by Richard Howard, Don Bogen understands the ways objects hold history, even if they’ve grown obsolescent, even when they’ve been forgotten. So objects—rendered in cinematic detail—fill these poems. A desk, a mailbox, a house delivering its own autobiography. Hospitals: the patients who have passed through, the buildings that have crumbled. And, in a longer view, the people who survive in what they left behind: Thom Gunn, Charles Dickens, and the pre-Columbian architects who designed the great earthworks of Ohio two thousand years ago.<br><br> Songs, ephemeral by nature but infinitely repeatable, run throughout the collection. “What did they tell me, all those years?” Bogen writes. <i>Immediate Song</i> offers us a retrospective glance that is at once contemplative and joyous, carefully shaped but flush with sensuous observation: a paean to what is both universal and fleeting.
Аннотация
Book’s focus on the 2011 tsunami and nuclear disaster provides opportunities for crossover media into larger markets interested in environmental consequences, and disaster similar in scope to Chernobyl Strong blurbs forthcoming; author’s previous work has been lauded by Ishmael Reed, Stephanie Burt, and Ray Gonzalez Author is Poet Laureate of South Dakota Author has been widely published in Poetry , Poem-a-Day, and Southeast Review
Аннотация
Includes a section of erasure poems from Carl Sagan’s Cosmos Book’s engagement with the instability of the Earth’s ecosystem as well as racism, police brutality, queertagonism, Islamophobia, anti-Semitism, human exceptionalism, and raising a daughter who was born around the time of Trump’s election provides opportunities for wider coverage and crossover into larger markets Winner of the 7th annual $10,000 Lindquist & Vennum Prize for Poetry, selected by Rick Barot, who is the poetry editor of the New England Review Author’s poems have been widely published in DIAGRAM, PANK, Bennington Review, Queen Mob’s Teahouse, Saltfront, and many other journals; also has a chapbook from Black Ocean Blurbs from Rick Barot, Rebecca Gayle Howell, Maggie Smith, and Sun Yung Shin
Аннотация
In <i>The Mirrormaker</i>, songwriter and poet Brian Laidlaw melds myths ancient and contemporary among the raspberries, wolves, and taconite mines of Minnesota’s Iron Range.<br><br>
A companion volume to Laidlaw’s 2015 project, <i>The Stuntman</i>, this collection fuses the stories of two fabled couples: the mythical Narcissus and Echo, and Bob Dylan and Echo Star Helstrom, subject of the song “Girl from the North Country.” But where <i>The Stuntman</i> focused on Narcissus, <i>The Mirrormaker</i> takes its primary inspiration from Echo, drawing on ecocritical readings of American history and interrogating the masculine logic of resource extraction.<br><br>
In these poems, Laidlaw explores themes of history and celebrity, love and longing, myth and meaning, in a landscape both ravaged and redemptive. He pits romantic obsession against self-obsession—“The first time I saw the moon / I thought it was my idea”—and asks whether a meaningful distinction can ever be drawn between the two. These themes are explored further in a companion song suite, written by Laidlaw and recorded with a longtime collaborator from the Iron Range, that accompanies this book via download. <br><br>
Sharp, searching, and ecstatically musical, <i>The Mirrormaker</i> is a genre-expanding exploration of boom and bust—in mining economies and in young love.
A companion volume to Laidlaw’s 2015 project, <i>The Stuntman</i>, this collection fuses the stories of two fabled couples: the mythical Narcissus and Echo, and Bob Dylan and Echo Star Helstrom, subject of the song “Girl from the North Country.” But where <i>The Stuntman</i> focused on Narcissus, <i>The Mirrormaker</i> takes its primary inspiration from Echo, drawing on ecocritical readings of American history and interrogating the masculine logic of resource extraction.<br><br>
In these poems, Laidlaw explores themes of history and celebrity, love and longing, myth and meaning, in a landscape both ravaged and redemptive. He pits romantic obsession against self-obsession—“The first time I saw the moon / I thought it was my idea”—and asks whether a meaningful distinction can ever be drawn between the two. These themes are explored further in a companion song suite, written by Laidlaw and recorded with a longtime collaborator from the Iron Range, that accompanies this book via download. <br><br>
Sharp, searching, and ecstatically musical, <i>The Mirrormaker</i> is a genre-expanding exploration of boom and bust—in mining economies and in young love.
Аннотация
“Even present tense has some of the grace of past tense, / what with all the present tense left to go.” From Max Ritvo—selected and edited by Louise Glück—comes a final collection of poems fully inscribed with the daring of his acrobatic mind and the force of his unrelenting spirit.<br><br>
Diagnosed with terminal cancer at sixteen, Ritvo spent the next decade of his life writing with frenetic energy, culminating in the publication of <i>Four Reincarnations</i>. As with his debut, <i>The Final Voicemails</i> brushes up against the pain, fear, and isolation that accompany a long illness, but with all the creative force of an artist in full command of his craft and the teeming affection of a human utterly in love with the world.<br><br>
The representation of the end of life resists simplicity here. It is physical decay, but it is also tedium. It is alchemy, “the breaking apart, / the replacement of who, when, how, and where, / with what.” It is an antagonist—and it is a part of the self. Ritvo’s poems ring with considered reflection on the enduring final question, while suggesting—in their vibrancy and their humor—that death is not merely an end.<br><br>
<i>The Final Voicemails</i> is an ecstatic, hopeful, painful—and completely breathtaking—second collection.
Diagnosed with terminal cancer at sixteen, Ritvo spent the next decade of his life writing with frenetic energy, culminating in the publication of <i>Four Reincarnations</i>. As with his debut, <i>The Final Voicemails</i> brushes up against the pain, fear, and isolation that accompany a long illness, but with all the creative force of an artist in full command of his craft and the teeming affection of a human utterly in love with the world.<br><br>
The representation of the end of life resists simplicity here. It is physical decay, but it is also tedium. It is alchemy, “the breaking apart, / the replacement of who, when, how, and where, / with what.” It is an antagonist—and it is a part of the self. Ritvo’s poems ring with considered reflection on the enduring final question, while suggesting—in their vibrancy and their humor—that death is not merely an end.<br><br>
<i>The Final Voicemails</i> is an ecstatic, hopeful, painful—and completely breathtaking—second collection.
Аннотация
2018 National Poetry Series selection Poems from the collection and author have been widely published, including in Poetry , the Washington Square Review , and PEN America We expect strong blurbs, reviews, and ordering from the poetry community as a result of the author’s network of supporters Book’s focus on trans bodies, queerness, and gender equity provides opportunities for wider coverage, crossover into larger markets, and promotion via LGBTQ media and communities
Аннотация
We expect strong blurbs; author has reached out to Natalie Diaz, Aimee Nezhukumatathil, Juan Felipe Herrera, Matthew Zapruder, and Beth Bachmann, and his previous work has been lauded by Tracy K. Smith, Brenda Shaughnessy, and Nick Flynn Author’s previous work has been reviewed by Salon, Esquire , Guernica, Library Journal , Denver Post , and Minneapolis Star Tribune Author has been widely published in BOMB Magazine , Best American Poetry , Pleiades , and elsewhere Book’s departure from author’s predominant style while engaging with universal themes such as pain, illness, male fragility, and family will provide opportunities for reinvigorating author’s fans and appealing to new audiences
Аннотация
From James P. Lenfestey, a collection of poems that lends delicacy and gentle humor to durable, long-lasting love.<br><br>
Writing love poems fifty years into a marriage is no easy task: «If he exaggerates his love, she'll know . . . And if his desire for her is undiminished, / who would believe?» But in <i>A Marriage Book</i>, Lenfestey meets his own challenge with aplomb. These poems drop readers into the rich, textured world of one couple's enduring intimacy, from the warmth of a bedroom occupied by two to squabbles over miscommunications and crumbs in the kitchen.<br><br>
As the marriage (and the <i>Book</i>) transition into parenthood, Lenfestey illuminates the equally stalwart wonder of observing one's children as they age and develop. Paternal love persists, and is even fed by, watching his children argue, suffer their own mistakes, and roar horrible breath at breakfast. So much poetry is about storms, / bruised fruit, locusts eating everything," he writes. «This poem is about a harvest that satisfies.»<br><br>
<i>A Marriage Book</i> is a collection that essences the magic from the household quotidian, creating a technicolor portrait of a vibrant and dynamic family.
Writing love poems fifty years into a marriage is no easy task: «If he exaggerates his love, she'll know . . . And if his desire for her is undiminished, / who would believe?» But in <i>A Marriage Book</i>, Lenfestey meets his own challenge with aplomb. These poems drop readers into the rich, textured world of one couple's enduring intimacy, from the warmth of a bedroom occupied by two to squabbles over miscommunications and crumbs in the kitchen.<br><br>
As the marriage (and the <i>Book</i>) transition into parenthood, Lenfestey illuminates the equally stalwart wonder of observing one's children as they age and develop. Paternal love persists, and is even fed by, watching his children argue, suffer their own mistakes, and roar horrible breath at breakfast. So much poetry is about storms, / bruised fruit, locusts eating everything," he writes. «This poem is about a harvest that satisfies.»<br><br>
<i>A Marriage Book</i> is a collection that essences the magic from the household quotidian, creating a technicolor portrait of a vibrant and dynamic family.
Аннотация
Winner of the 2017 Lindquist & Vennum Prize for Poetry, selected by Srikanth Reddy Project books are selling well in the poetry market, see the strong sales of Cold Pastoral or I Know Your Kind for examples Georg Trakl is considered one of Europe’s most important expressionists, this creative exploration of his and his sister’s lives will resonate across the world of poetry
Аннотация
From celebrated poet Eric Pankey, a collection exploring the presence of the divine in the seemingly ordinary.<br><br>
The ancient Romans practiced augury, reading omens in bird's flight patterns. In the poems of <i>Augury</i>, revelation is found in nature's smallest details: a lizard's quick movements, a tree scarred by lighting, the white curve of a snail's shell. Here the sensory world and the imagined one collide in unexpected and wonderful ways, as Pankey scrutinizes the physical for meaning, and that meaning for truth.<br><br>
With uncommon grace, each of Pankey's precise lyrics advances our shared ontological questions and expresses our deepest contradictions. In a world of mystery, should we focus on finding meaning or creating it? How can the known—and the unknown— be captured in language?<br><br>
<i>Augury</i> is a masterful and magical collection from a poet of stirring intelligence, «a book of stones unstitched from the wolf's belly.»
The ancient Romans practiced augury, reading omens in bird's flight patterns. In the poems of <i>Augury</i>, revelation is found in nature's smallest details: a lizard's quick movements, a tree scarred by lighting, the white curve of a snail's shell. Here the sensory world and the imagined one collide in unexpected and wonderful ways, as Pankey scrutinizes the physical for meaning, and that meaning for truth.<br><br>
With uncommon grace, each of Pankey's precise lyrics advances our shared ontological questions and expresses our deepest contradictions. In a world of mystery, should we focus on finding meaning or creating it? How can the known—and the unknown— be captured in language?<br><br>
<i>Augury</i> is a masterful and magical collection from a poet of stirring intelligence, «a book of stones unstitched from the wolf's belly.»