Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
A collection of essays and occasional pieces on gambling, teaching, snakes, dogs, cars, hitchhiking, marriage and sophistication, memory and work, and a dozen other subjects. One essay announces that the two dollar bill can buy happiness and reports some resistance to this discovery. Another studies the art of life as ne'er-do-well, a sort of prequel to the "slacker" phenomenon, written and published in Austin, Texas. In yet another essay, everyone's first name is Philip, (except the comet). Certain liberties are taken with the form. Pieces originally appeared in the New York Times Magazine, the Los Angeles Times, Oxford American, the Texas Observer, Connecticut Review, Apalachee Quarterly, and other newspapers, magazines, and anthologies.
In 2010, poet Katharine Coles sailed across the Drake Passage to spend a month at a tiny Antarctic science station under the auspices of the National Science Foundation's Antarctic Artists and Writers Program. The Earth Is Not Flat, the collection of poems written out of her adventure, invokes the vast land- and seascapes as well as the fauna - penguins, seals, whales, and scientists -she encountered along the way.
The first novel in John Domini's Naples trilogy, Earthquake I.D. appeared in spring '07. Set in a famously troubled and romantic Southern Italian seaport, following the next earthquake, the story combines family and social crises with an element of fantasy and pervasive humor. The novel won wide critical praise and was nominated for a Pulitzer and other prizes. Richard Ford, an earlier Pulitzer winner, called it "a wonderful novel of an old-fashioned sort...a rich feast." Steve Erickson, author of Zeroville, called Domini "a writer of the world, with a deft talent for negotiating the currents of our age."In April 2009, an Italian translation appeared, under the title Terremoto Napoletano. Again reviews have been strong.
When disgraced evolutionary biologist Dr. Claire Matthews is asked to accompany a group of leading scientists on a fact-finding expedition to Antarctica to investigate a tragic accident, she is naturally suspicious. Her checkered past and ongoing professional exile are more than enough to convince her that any offer made by the charismatic and scheming Dr. Ethan Hatcher merits serious skepticism. Despite her doubts, Claire cannot turn her back on close friend and colleague, Alan Whitehurst. Killed under mysterious circumstances weeks earlier with the members of the first expedition, Alan deserves better than an anonymous death in Earth's harshest and most unforgiving environment. While the expedition promises Claire an unwelcome reunion with an array of personal demons, it also presents her with a golden opportunity to resurrect a once-promising career. Proving the existence of S. iroquoisii, an ancient microscopic organism critical in the evolution of primitive man, would mean the culmination of her life's work, and a triumphant return for one of the scientific community's brightest prodigies. To earn her keep, Claire must determine the role S. iroquoisii played in the catastrophic accident that decimated the previous expedition, before her crew falls prey to a similar fate. Employing the latest in forensic investigation, Claire and a joint team of military and civilian personnel undertake the gruesome task of piecing together the events that led to the massive explosion that destroyed the previous research station. As a nightmare of unimaginable proportions begins to coalesce, Claire is drawn ever deeper into a maze of deception and savage violence. Pitted against a primordial foe they can scarcely fathom, Claire and her colleagues must battle the cold, each other, and the growing madness within themselves to survive the infinite polar night.
A literary comedy of manners set in a fictitious island nation in the South Pacific, somewhere between the Japan and Indonesia. It tells the story of a vacationing Asian-American journalist, Benjamin Inoue, who gets swept up into a cascading chain of events and who becomes the campaign manager of a buffoonish and megalomaniac island scion who is running against his younger brother for presidency of the small and forgotten island. Along the way, he becomes ensnared in a progression of dubious and absurdist events orchestrated by dubious and unreliable characters, all of which have their own hidden and conflicting agenda that they force Ben into serving.
In Fault, Katharine Coles continues to explore her abiding interest in the intersections of science, culture, and history, but the book is perhaps best described as an extended meditation on love. Ranging across time and continents, Coles addresses such figures as Newton, Kepler, and Vesalius, not only with intellectual rigor but also with humor, intimacy, and buoyant optimism that render her subjects—the figures and the science—accessible within the capacious intellectual, emotional, and physical landscapes of the poems.
Using Hollywood screenplay structure to illustrate a life in three acts, eighteen scenes, each with two poems as mirrors to action, filmmaker/poet Lawrence Bridges sequences through tragicomic plot twists and subplots to create a character-driven, novel-like book of lyric poems. An unnamed protagonist is torn from a lover, torn from himself, in perpetual transition while starting a new family, surrounded by a lively array of colleagues and friends as his career implodes, asserting his autonomy only to become part of life's "conspiracies." Strangers shift around him in a murky world beyond his control, a world with signs of indeterminacy and happenstance: Restaurant patrons smile innocently while thieves quietly rob, a death pact is used to escape a lover, disguised signals from space aliens announce that our enemies are now their allies. How do you tie up loose ends when characters we like are actually the bad guys? Bridges prods us to answer the main question: Can a man love as his world spells farewell? A unique, delightful read—an invitation to explore something new in what may be a new genre fusing some of the elements of screenplay with poetry. Today is already yesterday to tomorrow, in Flip Days.
The poems in Future Ship are largely autobiographical in the sense that they are based on personal experiences from childhood and adolescence when the personality is still in a molten form and being shaped by events and experiences that leave a lasting mark on the adult sensibility. The term "autobiographical" is slightly misleading, as any poet knows personal material exists to be molded and transformed according to the needs of the poem. So imagination is the midwife of the past, and whatever actually happened is colored by time, memory, and the exigencies of art. In order to access material which is essentially narrative in nature, and produce poetry rather than short fiction, it was necessary to adopt a form that allowed for flexibility both spacious enough to allow the narrative to develop, yet controlled enough to create some tension in the lines. So the form of alternating long lines with short lines was adopted to answer this requirement. The short lines are lines themselves, and not indented phrases clipped off the ends of the longer lines in order to fit into the marginal format of the page. After allowing the narrative to stretch out in the longer lines, the short lines are meant to act as pivots, or fulcrums, that propel the reader on to the each next long line. They are also meant to supply pauses, breathing spaces, in the extended narrative carried by the longer lines. Other poems in Future Ship are more traditional in lineation, but all the poems, in one way or another, are meant to serve the main theme of how the past informs the present, which then points directly toward the future the trope being a ship that arrives finally to voyage away containing all the accumulated facts, events, and characters that have marked a life. So the self is imagined as a kind of ark, bearing a lifetime's experiences into the future. One hopes, of course, that the closer one gets to personal experience if it is real and honestly felt the more it will become universal and represent, in some way, the experience of others.
New and Selected Poems
Bart Edelman’s latest poetry collection, The Geographer’s Wife, explores how our sense of environment creates and frames the world we choose to inhabit. The speakers in Edelman’s poems perpetually find themselves in conflict with the world around them. The choices they make sometimes free them to discover a life full of promise, sometimes cast them into uncertainty, and sometimes condemn them to regression. Again and again, the landscapes they visit serve as both boundary and horizon. This sense of place—east, west, north, and south—directs the physical and spiritual movements we often take for granted, as we pass through the days and nights that dictate each one of our journeys.
The stories in The Girl with Two Left Breasts focus on a new generation of African-Americans, who, having had access to the education their parents could only dream of, now face the challenges of living in an insane postmodern world. Readers will encounter stories shaped and styled for the new millennium as image and metaphor are taffy-stretched and virtually collapsed in order to depict how, at this unique juncture barely beyond our century’s turn, cultures, genders, and points of view collide as characters struggle with issues of race, identity, sex and addiction in an unforgiving urban milieu. Publisher Fiction Collective 2 calls Glenn’s work “An important new voice speaking to us throughout the stories in an array of vivid, unusual tongues, all of them full of intellect, passion and poetry. Moreover, the collection strikes one as having been written by someone whose literary sensibility is already fully formed.” This is fiction that is sometimes darkly humorous or humorously dark, deftly sidestepping facile categorization and often, like a koan, unfolding with a lyrical sort of dissonance.