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In American Busboy, a wry anti-mythology, the anti-hero busboy in an anonymous Clam Shack! tangles with the monotonous delirium of work, the indignities and poor pay of unskilled labor, the capricious deus ex machina of mean-spirited middle management, the zombified consumption of summer tourists, while jostling for the goddess-like attentions of waitresses and hostesses—all battered up in sizzlingly crisp wit and language, and deep-fried in a shiny glaze of surrealism. —Lee Ann Roripaugh
A book of contemporary poetry exploring the fine, shifting line between faith—secular and spiritual faith—and fanaticism in an insecure age, American Fanatics is a lyrical, pop-culture inflected meditation on democracy, morality, beauty, commerce, and the cost of falling dreams.
Each portion forming a reduced-size copy of the whole, a fractal is forever fragmented, both chaotic and ordered, endlessly complex. Timothy Green's American Fractal sees this pattern emerge from the fabric of modern culture, as it navigates the personal, the political, and the metaphysical, in a lyric dreamscape in which an eerie chaos lurks just behind the facade of order--where "what looks like / a river...could be a log," "as if accident were / the fundamental attribute of life." In separate poems, one man sells ad space on his forehead, while another examines the multitudes of his own voice on an audio cassette recorder. Each life is but another section of the fractal, the past and the future two mirrors that face each other to perpetuate the illusion of infinites. At turns evocative and sweetly ironic, Green straddles the line between accessibility and complexity, exploring "how the wind whispers our secrets," how "that little tremor" of understanding "touches your sleeve, lets go."
Emerson, Whitman, and the New Poetry
"The transmigration of souls is no fable. I would it were, but men and women are only half human." With these words, Ralph Waldo Emerson confronts a dilemma that illuminates the formation of American individualism: to evolve and become fully human requires a heightened engagement with history. Americans, Emerson argues, must realize history's chronology in themselves--because their own minds and bodies are its evolving record. Whereas scholarship has tended to minimize the mystical underpinnings of Emerson's notion of the self, his depictions of "the metempsychosis of nature" reveal deep roots in mystical traditions from Hinduism and Buddhism to Platonism and Christian esotericism. In essay after essay, Emerson uses metempsychosis as an open-ended template to understand human development. In Leaves of Grass, Walt Whitman transforms Emerson's conception of metempsychotic selfhood into an expressly poetic event. His vision of transmigration viscerally celebrates the poet's ability to assume and live in other bodies; his American poet seeks to incorporate the entire nation into his own person so that he can speak for every man and woman.
Pitt Poetry Series Anthology
American Poetry Now is a comprehensive collection of the best work from the renowned Pitt Poetry Series. Since its inception in 1967, the series has been a vehicle for America's finest contemporary poets. The series list includes Poet Laureate Billy Collins, Toi Derricotte, Denise Duhamel, Lynn Emanuel, Bob Hicok, Poet Laureate and Pulitzer Prize winner Ted Kooser, Larry Levis, Sharon Olds, Alicia Suskin Ostriker, Virgil Suárez, Afaa Michael Weaver, David Wojahn, Dean Young, and many others.
In two intertwined songs, a feminist epic poem and a dreamlike opera libretto, Among the Goddesses traces one woman’s harrowing mythological journey of discovery. Tutored by encounters with seven Goddesses, both frightening and nurturing, Marie/Lily is tested by loss, rape, and abortion as she finds her community and her spiritual strength. This magical book embodies the goddesses in every woman and gives voice to the power of the feminist spirituality movement.
Charles Harper Webb’s eccentric and distinct writing style makes this collection of poetry a funny and charmingly memorable read. A melting pot of pop culture, historical references, and everyday life, Webb’s poems are refreshingly candid and straightforward.
“Paisley Rekdal’s quiet virtuosity with rhyme and cadence, her syntactic fidelity to thought and sensation, her analytical intelligence that keeps homing in and in, her ambitious sentences and larger formal structures that try to embody with absolute accuracy the difference between what we ought to feel and what we really do feel—all these make her unique in her generation: no one sounds like she does, and her concern about the ‘post’ in postconfessional is as much a sign of her earnest desire to honor every aspect of her art, as it is an anxiety that spurs her restless investigations of family, selfhood, racial identity, and erotic life.” —Tom Sleigh