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Apples from Shinar was Hyam Plutzik's second complete collection. Originally published in 1959 as a part of Wesleyan University Press's newly minted poetry series, the collection includes "The Shepherd"--a section of the book-length poem "Horatio," which earned Plutzik a finalist position for the Pulitzer Prize. "The love and the words and the simplicity," that mark Plutzik's poetry, writes Philip Booth, "are all here [in Apples from Shinar], and the poems come peacefully, and wonderfully, alive." With a previously unpublished foreword by Hyam Plutzik and a new afterword by David Scott Kastan, this edition marks the centenary of Plutzik's birth and will introduce a new generation of readers to the work of one of the best mid-century American poets.
“Sagan’s richly sensual writing blends elements of mature insight with deeply felt experience. These are poems of an examined life with moments of Zen clarity throughout. It is, in fact, the clarity that drives these poems. The language is careful but deliberate, exquisitely crafted and emotionally moving. One gets the sense that her desire to write poetry comes from the desire to give permanent voice to something in the experience of life – to find ourselves spoken for in art gives dignity to our pain, our anger, our lust, and our losses. This is what poetry is about. When Miriam Sagan casts her imaginative eye on something, it stares back.” —Jeanie C. Williams
One of Norway’s most celebrated literary figures of the nineteenth century, Henrik Wergeland worked tirelessly for the civil rights of Jews in Norway. He used the words and structure of his poetry to enliven the ideals of truth, freedom, and equality. This translated volume, containing several of Wergeland’s most prominent poems, beautifully encapsulates the compelling force of his message, allowing its enduring influence to benefit a wider contemporary audience.
Probing, wide-ranging, brimming with passion and outrage, Melhem’s eighth collection of poems grips the reader with accounts of individual triumphs and the ongoing catastrophic conflicts of our world. The author draws on her years as a painter and sculptor to bring a distinct visual and tactile quality to her poetry. In this volume, Melhem proceeds from robust individual portraits through observable terrains to traumatic visions of war. "Certain Personae" ranges from black writers to Abraham Lincoln, from a portrait of the suffragist Elizabeth Cady Stanton to the poetry of John Updike, and finishes with paintings of Hannibal crossing the Alps. In "Mostly Political," the poems traverse the local and the universal: melting polar ice caps, capitalism, a painting by Max Ernst interpreted in antithetical ways, and a poem surveying Manhattan’s Upper West Side in the context of international events. "Wars," the third and last section, gives intimate and searing glimpses of the Trojan War, World War I, the Gulf War, the Iraq war, and the conflict over Palestine.
In these poems, G. E. Murray blends the colors of the soul with those of the world it brushes up against, exploring the ways in which art, both as possession and possessor, informs perception._x000B_Viewing his subjects sometimes from airplane altitude, sometimes from the intimacy of a shared restaurant table, Murray crafts true stories about color,? narratives of dislocation and belonging that invite readers to question their own relationship to art._x000B_Included in this volume is a long sequential poem titled The Seconds,? which Murray composed across the second days of thirteen months. The rhythms of this diary-as-poem seize the tensions of shifting times and locales, capturing the essences of moments that are at once chosen and arbitrary._x000B_Codes toward an Incidental City,? the sequence that closes the book, is a confederacy of forty poems that delve into the concrete familiarities and mythologies of urban landscapes, illuminating the ecstasies of city life._x000B_
Ascending Order is the work of a poet in midcareer who has thought hard about the circumstances of his past and present, and found an attitude, part concerned and part amused, that serves him well in both his life and his art. The poems in William Greenway’s new book range widely, from memories of childhood and family through meditations on works of art, from humourous topics such as the cars in Hell’s garage or a dead celebrity golf tournament to deep-felt contemplations of cultures American and otherwise or the ailments of middle age and the shadows of mortality. But whether the subjects are serious or playful, the rich vision and inventive language displayed in these poems are Greenway’s alone.
Daniel Hughes's final volume of poetry, written during his years of struggle with multiple sclerosis, displays his characteristic wit, intelligence, and imagination. While the poems in Ashes & Stars deal with themes such as love and mortality, the conflict between imagination and actuality, and the pleasures of the world around us, they are never somber or overly serious. Even the shortest ones have a wry comic sense. Additionally, Hughes's poems demonstrate a remarkably economical and precise use of language, without a wasted word in the entire collection. Although the concentrated emotion of the poems may remind readers of Emily Dickinson and Robert Lowell, Hughes's poetic forms-quatrains, tercets, irregular sonnets, irregular rhymes-also illustrate the deep influence of the English Romantics, whom he championed throughout his academic career. In addition, many poems draw inspiration from numerous individuals and works of art from the Italian Renaissance, as they weave abstract themes from Western culture with the sensual data of the poet's experience. Despite these deep historical and literary roots, the conversational tone of Ashes & Stars ensures that it is never dry or academic. The poems speak to the reader as to an intimate, giving a sense of transmitting hard-earned experience and knowledge. All readers will appreciate the passionate energy and worldly air of these unique and exactingly honest final poems.