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Ashes & Stars Cover

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Ashes & Stars

Daniel Hughes Edited by Mary Hughes Foreword by Edward Hirsch Introduction by Michael Scrivener

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.

Assembling The Lyric Self Cover

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Assembling The Lyric Self

Authorship from Troubadour Song to Italian Poetry Book

Olivia Holmes

Assembling the Lyric Self investigates the transition in the thirteenth and fourteenth centuries from the first surviving Provençal and Italian manuscripts (mostly multiauthor lyric anthologies prepared by scribes) to the single-author codex-that is, to the form we now think of as the book of poems. Working from extensive archival and philological research, Olivia Holmes explores the efforts of individual poets to establish poetic authenticity and authority in the context of expanding vernacular literacy. As she moves from an overview to a consideration of particular authors (including Guittone d’Arezzo and Nicolo de’Rossi) and manuscripts, she both demonstrates the narrative and structural subtlety of many of the works and reveals unsuspected phases in a gradual historical shift.

Assembling the Lyric Self challenges received ideas about the origins of a genre (the author-ordered poetry book) and about periodization, including the traditional opposition between medieval conformity and Renaissance individualism. A major reassessment and redefinition of an entire tradition, this book will be essential reading for scholars not only of the Middle Ages but also of the early modern period whose precedents this book realigns.

At Lake Scugog Cover

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At Lake Scugog

Poems

Troy Jollimore

This is an eagerly awaited collection of new poems from the author of Tom Thomson in Purgatory, which won the National Book Critics Circle Award and was hailed by the New York Times as a "snappy, entertaining book." A triumphant follow-up to that acclaimed debut, At Lake Scugog demonstrates why the San Francisco Chronicle has called Troy Jollimore "a new and exciting voice in American poetry."

Jollimore is a professional philosopher, and in witty and profound ways his formally playful poems dramatize philosophical subjects--especially the individual’s relation to the larger world, and the permeable, constantly shifting border between "inner" and "outer." For instance, the speaker of "The Solipsist," suspecting that the entire world "lives inside of your skull," wonders "why / God would make ear and eye / to face outward, not in." And Tom Thomson--a character who also appeared in Jollimore’s first book--finds himself journeying like an astronaut through the far reaches of the space that fills his head, an experience that prompts him to ask that a doorbell be installed "on the inside," so that he can warn the world before "intruding on’t."
______

From At Lake Scugog:
LOBSTERS

Troy Jollimore

tend to cluster in prime numbers, sub-
oceanic bundles of bug consciousness
submerged in waking slumber, plunged in pits
of murk-black water. They have coalesced

out of the pitch and grime and salt suspended
within that atmospheric gloom. Their skin
is colorless below. But when exposed
to air, they start to radiate bright green,

then, soon, a siren red that wails: I’m dead.
The meat inside, though, is as white as teeth,
or the hard-boiled egg that comes to mind
when one cracks that crisp shell and digs beneath.

Caress the toothy claw-edge of its pincer
and you will know the single, simple thought
that populates its mind. The lobster trap is elegance
itself: one moving part: the thing that’s caught.

At the Bureau of Divine Music Cover

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At the Bureau of Divine Music

Poems By Michael Heffernan

A thoughtful and elegant collection from accomplished poet Michael Heffernan.

Atlantic Wall and Other Poems Cover

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Atlantic Wall and Other Poems

Rosalie Littell Colie

A noted historian of Renaissance English literature and scholar of comparative literature, Rosalie L. Colie was also a serious poet. This volume brings together 31 of her poems, illustrating the striking interplay between her scholarship and her personal response to the world. The title poem and the shorter poems that follow testify to Professor Colie's versatility as a poet. There are sonnets, elegies, metaphysical speculations, pastorals, love poems all imbued with the intelligence and sensibility that pervaded her life and work.

Originally published in 1975.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Auden's Apologies for Poetry Cover

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Auden's Apologies for Poetry

Lucy McDiarmid

Common wisdom has it that when Auden left England for New York in January 1939, he had already written his best poems. He left behind (most critics believe) all the idealisms of the 1930s and all serious concerns to become an unserious poet, a writer of ingenious, agreeable, minor lyrics. Lucy McDiarmid argues that such readers, spoiled by the simple intensities of apocalypse, distort and misjudge Auden's greatest work. She shows that once Auden was freed from the obligation to criticize and reform the society of his native country, he devoted his imaginative energies to commentary on art. And about art he was never complaisant: with greater passion than he had ever used to undermine "bourgeois" society, Auden undermined literature. Every major poem and every essay became a retractio, a statement of art's frivolity, vanity, and guilt. Auden's Apologies for Poetry, then, sets forth the unorthodox notion that the chief subject of later, "New Yorker" Auden is the insignificance of poetry. Commenting on all the major poems and essays from the 1930s through the 1960s, and analyzing manuscript revisions and unpublished works, it charts the changes in Auden's poetics in the light of his shift from an oral to a written model of poetry. In his earliest work Auden voices the tentative hope that poems can be like loving spoken words, transforming and redeeming, themselves carriers of value. After 1939 he takes for granted a written model. His later essays and poems deny art spiritual value, claiming that "love, or truth in any serious sense" is a "reticence," the unarticulated worth that exists--if at all--outside the words on the page. Later Auden creates a poetics of apology and self-deprecation, a radical undermining of poetry itself.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Autogeography Cover

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Autogeography

Poems

Reginald Harris

Winner of the Cave Canem Northwestern University Press Poetry Prize


In his second collection of poetry, Reginald Harris traverses real and imagined landscapes, searching for answers to the question “What are you?” From Baltimore to Havana, Atlantic City to Alabama—and from the broad memories of childhood to the very specific moment of Marvin Gaye singing at the 1983 NBA All-Star Game shortly before his death—this is a travel diary of internal and external jour­neys exploring issues of race and sexuality. The poet trav­eler falls into and out of love and lust, sometimes coupled, sometimes alone. Autogeography tracks how who you are changes depending on where you are; how where you are and where you’ve been determine who you are and where you might be headed. 

Autumn Road Cover

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Autumn Road

Brian Swann’s Autumn Road consists of three interrelated parts: “ghosts/on paper, anonymous, ambiguous, festive—,” from the viewpoint of someone “similar to/who I am, but not me.” There should be no “mistaking flashes” for “heliography.” This poem, “Heliography” and another in Part I, “The Lost Boy,” is set during and after World War II in Northumberland, England, a world of farm, coal mine, family, and relatives. Later, in adolescence, the scene moves to the fen country of East Anglia and focuses on a difficult father and a violent world. Part II centers on “Ars Amatoria” in its various manifestations: marriage, the family and children. Part III, Eschatology,” looks back but also forward. It moves through middle age to “Three Score and Then Some.” What it sees is “the River Jordan spreading across night sands,” friends and family no longer here. It ends with the title poem, set in New York’s western Catskill Mountains: “I look for ecstatic image/here below where the year is dying fiercely.”

Azanian Love Song Cover

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Azanian Love Song

Donato Francesco Mattera has been celebrated as a journalist, editor, writer and poet. He is also acknowledged as one of the foremost activists in the struggle for a democratic South Africa, and helped to found both the Union of Black Journalists, the African Writer's Association and the Congress of South African Writers. Born in 1935 in Western Native Township (now Westbury) across the road from Sophiatown, Mattera can lay claim to an intriguingly diverse lineage: his paternal grandfather was Italian, and he has Tswana, Khoi-Khoi and Xhosa blood in his veins.

The Bad Wife Handbook Cover

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The Bad Wife Handbook

Rachel Zucker

Rachel Zucker's third book of poems is a darkly comic collection that looks unsparingly at the difficulties and compromises of married life. Formally innovative and blazingly direct, The Bad Wife Handbook cross-examines marriage, motherhood, monogamy, and writing itself. Rachel Zucker's upending of grammatical and syntactic expectations lends these poems an urgent richness and aesthetic complexity that mirrors the puzzles of real life. Candid, subversive, and genuinely moving, The Bad Wife Handbook is an important portrait of contemporary marriage and the writing life, of emotional connection and disconnection, of togetherness and aloneness.

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