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These poems contain fasts and feasts, laments and love songs, histories, fantasies, and elegies, the amusing and heartbreaking debris of life on this world, all the while recalling Seneca's dictum, non est ad astra mollis e terris via ("the road from the earth to the stars is not easy").
The Lower East Side Poetry Scene in the 1960s
This landmark book, together with its accompanying CD, captures the heady excitement of the vibrant, irreverent poetry scene of New York's Lower East Side in the 1960s. Drawing from personal interviews with many of the participants, from unpublished letters, and from rare sound recordings, Daniel Kane brings together for the first time the people, political events, and poetic roots that coalesced into a highly influential community. From the poetry-reading venues of the early sixties, such as those at the Les Deux Mégots and Le Metro coffeehouses to The Poetry Project at St. Mark's Church, a vital forum for poets to this day, Kane traces the history of this literary renaissance, showing how it was born from a culture of publicly performed poetry. The Lower East Side in the sixties proved foundational in American verse culture, a defining era for the artistic and political avant-garde.
The voices and works of John Ashbery, Amiri Baraka, Charles Bernstein, Bill Berkson, Ted Berrigan, Kenneth Koch, Bernadette Mayer, Ron Padgett, Denise Levertov, Paul Blackburn, Frank O'Hara, and many others enliven these pages, and the thirty five-track CD includes recordings of several of the poets reading from their work in the sixties and seventies. The Lower East Side's cafes, coffeehouses, and salons brought together poets of various aesthetic sensibilities, including writers associated with the so-called New York School, Beats, Black Mountain, Deep Image, San Francisco Renaissance, Umbra, and others. Kane shows that the significance for literary history of this loosely defined community of poets and artists lies in part in its reclaiming an orally centered poetic tradition, adapted specifically to open up the possibilities for an aesthetically daring, playful poetics and a politics of joy and resistance.
All Souls: Essential Poems brings together work that reflects the interweaving of history, memory, and the indelible bonds between living and dead that has marked the output of Louisiana Poet Laureate Emerita Brenda Marie Osbey. Comprising poems written and published over the span of four decades, this thematic collection highlights the unity of Osbey’s voice and narrative intent.
The six sections of the book reveal the breadth of her poetic vision. The first, “House in the Faubourg,” contains poems focused on the people and places of Osbey’s native New Orleans, and the penultimate section, “Unfinished Coffees,” examines the Crescent City within a broader, more contemporary meditation on culture. “Something about Trains” features two suites of poems that use trains and railway stations as settings from which to inspect desolation, writing, and memory; and “Little History, Part One” recounts tales of European settlement and exploitation of the New World. The poems in “What Hunger” look at the many facets of desire, while “Mourning Like a Skin” includes elegies and poems addressing the lasting presence of the dead.
Dynamic and unflinching, the poems in All Souls speak of a world with many secrets, known “only through having learned them / the hardest way.”
A Mountain Brook Novel
It’s the summer of George Wallace’s last run for governor of Alabama in 1982, and the state is at a crossroads. In Katherine Clark’s All the Governor’s Men, a political comedy of manners that reimagines Wallace’s last campaign, voters face a clear choice between the infamous segregationist, now a crippled old man in a wheelchair, and his primary opponent, Aaron Osgood, a progressive young candidate poised to liberate the state from its George Wallace–poisoned past. Daniel Dobbs, a twenty one-year-old Harvard graduate and South Alabama native, is one of many young people who have joined the campaign representing hope and change for a downtrodden Alabama. A political animal himself, Daniel possesses so much charm and charisma that he was nicknamed “the Governor” in college. Nowhe is engaged in the struggle to conquer once and for all the malignant man Alabamians have traditionally called “the Governor.” This historic election isn’t the only thing Daniel wants to win. During his senior year, he fell in love with a freshman girl from Mountain Brook, the “Tiny Kingdom” of wealth and privilege, a world apart from his own Alabama origins. A small-town country boy, Daniel desperately wants to gain the favor of his girlfriend’s family along with her mentor, the larger-than-life English teacher Norman Laney. Daniel also wants to keep one or two ex-girlfriends firmly out of the picture. In the course of his summer, he must untangle his complicated personal life, satisfy the middle-class dreams of his parents for their Harvard-educated son, decide whether to enter law school or launch his own political career, and, incidentally, help his candidate defeat George Wallace, in a close and increasingly dirty race. All the Governor’s Men is a darkly comic look at both the political process in general and a significant political chapter in Alabama history. This second novel in Katherine Clark’s Mountain Brook series depicts the social and political landscape of an Alabama world that is at once a place like no other and at the same time, a place like all others.
Folktales Told by Five Scandinavian Storytellers
“This rich anthology presents 98 tales from Norway, Sweden, Denmark, Finland, and Iceland. Collected a century ago, they include popular narratives gathered by five noted folklorists. . . . An excellent introduction to the scope of folk traditions in Europe.” - Library Journal
The Poetry of Louis Dudek
A passionate believer in the power of art—and especially poetry—to influence and critique contemporary culture, Louis Dudek devoted much of his life to shaping the Canadian literary scene through his meditative and experimental poems as well as his work in publishing and teaching. All These Roads: The Poetry of Louis Dudek brings together thirty-five of Dudek’s poems written over the course of his sixty-year career.
Much of Dudek’s poetry is about the practice of art, with comment on the way the craft of poetry is mediated by such factors as university classes, public readings, reviews, commercial presses, and academic conferences. The poems in this selection—witty satires, short lyrics, and long sequences—reflect self-consciously on the relationship between art and life and will draw readers into the dramatic mid-century literary and cultural debates in which Dudek was an important participant.
Karis Shearer’s introduction provides an overview of Dudek’s prolific career as poet, professor, editor, publisher, and critic, and considers the ways in which Dudek’s functional poems help, both formally and thematically, to carry out the tasks associated with those roles. Comparing Dudek’s reception to that of NourbeSe Philip, Marilyn Dumont, and Roy Miki, Frank Davey’s afterword locates Dudek in a pre-1980s version of multiculturalism that is more complex than many critics would have it. According to Davey, Dudek broadened the limits on the possible range and type of poetry for subsequent generations of Canadian writers.
Using the confluence of rivers in Pittsburgh as a metaphorical lens, Allegheny, Monongahela probes the ruinous misalignment between the external and internal lives of two sisters and their childhood in Western Pennsylvania. Their complex and difficult relationship is the spine of the collection, told obliquely through a series of sonnets and ekphrastic meditations on the paintings of Georgia O'Keeffe: the ways in which they separately navigate a violent family history that reverberates through their present and futures; their polarized impulses toward creativity and self-destruction. Rooted in a mutable, watery landscape that is not consistently recognizable, Allegheny, Monongahela investigates the collisions between the world and the self, the fissured identities that result, and the ways in which art may heal or fail to heal the cracks.