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Like an underground river, the astonishing poems of Joseph Ceravolo have nurtured American poetry for fifty years, a presence deeply felt but largely invisible. Collected Poems offers the first full portrait of Ceravolo's aesthetic trajectory, bringing to light the highly original voice that was operating at an increasing remove from the currents of the time. From a poetics associated with Frank O'Hara and John Ashbery to an ever more contemplative, deeply visionary poetics similar in sensibility to Zen and Dante, William Blake and St. John of the Cross, this collection shows how Ceravolo's poetry takes on a direct, quiet lyricism: intensely dedicated to the natural and spiritual life of the individual. As Ron Silliman notes, Ceravolo's later work reveals him to be "one of the most emotionally open, vulnerable and self-knowing poets of his generation." Many new pieces, including the masterful long poem "The Hellgate," are published here for the first time. This volume is a landmark edition for American poetry, and includes an introduction by David Lehman.
One of the most notable members of the New York School--and its best-known woman--Barbara Guest began writing poetry in the 1950s in company that included John Ashbery, Kenneth Koch, Frank O'Hara, and James Schuyler. And from the beginning, her practice placed her at the vanguard of American writing. Guest's poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest's remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing--seemingly simple, but truly and beautifully dislocating.
This is the first full-length study of emerging Anglo-American science fiction's relation to the history, discourses, and ideologies of colonialism and imperialism. Nearly all scholars and critics of early science fiction acknowledge that colonialism is an important and relevant part of its historical context, and recent scholarship has emphasized imperialism's impact on late Victorian Gothic and adventure fiction and on Anglo-American popular and literary culture in general. John Rieder argues that colonial history and ideology are crucial components of science fiction's displaced references to history and its engagement in ideological production. He proposes that the profound ambivalence that pervades colonial accounts of the exotic "other" establishes the basic texture of much science fiction, in particular its vacillation between fantasies of discovery and visions of disaster. Combining original scholarship and theoretical sophistication with a clearly written presentation suitable for students as well as professional scholars, this study offers new and innovative readings of both acknowledged classics and rediscovered gems.
Includes discussion of works by Edwin A. Abbott, Edward Bellamy, Edgar Rice Burroughs, John W. Campbell, George Tomkyns Chesney, Arthur Conan Doyle, H. Rider Haggard, Edmond Hamilton, W. H. Hudson, Richard Jefferies, Henry Kuttner, Alun Llewellyn, Jack London, A. Merritt, Catherine L. Moore, William Morris, Garrett P. Serviss, Mary Shelley, Olaf Stapledon, and H. G. Wells.
Come home Charley Patton is a moving and an imaginative memoir documenting the Civil Rights Era and contemporary southern culture. Intricately layered and deeply arresting, Ralph Lemon's research on the African American experience intertwines personal anecdotes and family remembrances with diaristic accounts of the making of a dance, as Lemon journeys the mythic roads of migration--visiting the sites of lynchings, following the paths of Civil Rights marches, and meeting the descendants of early blues musicians. Come home Charley Patton is a rich, transcendent text, and a historically-charged meditation on memory in America. It is a formidable finale for the Geography trilogy (including Geography and Tree), three books connected thematically by racial identity and the related dance projects choreographed by Lemon. Generously illustrated with family photos, original art, and photos of the performance, the book will take its place in the canon of great African American writing.
First published in 1979, Common Sense evinces a spare street-wise style rooted in the vernacular of the city. Now something of a cult classic, the book is recognized as an understated masterpiece, pushing at the edges of spoken word. This is the language of everyday, brought onto the page in such a way that we never lose the flow of speech and at the same time we become attuned to its many registers—musical, emotional, ironic. Ted Greenwald’s work has been associated with several major veins of American poetry, including the Language movement and the New York School, but it remains unclassifiable. An online reader’s companion will be available at tedgreenwald.site.wesleyan.edu.
An Ornithological Biography Based on the Life of John James Audubon
A combination of poetry, nature writing, and biography in one book-length "persona-poem."Combining the best of poetry, nature writing, and biography, Pamela Alexander in her book-length "persona-poem" brings to life John James Audubon and a world not yet aware of nature's limits. She distills the essence of this remarkable naturalist-artist and gives him voice to tell his life's story in fragments of letters, journal entries, actual vignettes and lyrical passages, Captivating and accessible, her poem reads with the authority of autobiography, the dramatic coherence of a novel, and the evocative clarity of an Audubon print. The reader, briefly transported to the natural world of America a century and a half ago, cannot help but contrast its condition today and feel a poignant sense of loss.
Companion Spider is the accumulated work of a poet and translator who goes more deeply into the art and its process and demands than anyone since Robert Duncan. Clayton Eshleman is one of our most admired and controversial poets, the translator of such great international poets as Cesar Vallejo, Aime Cesaire and Antonin Artaud, and founder and editor of two important literary magazines, Sulfur and Caterpillar. As such, Eshleman writes about the vocation of poet and of the poet as translator as no one else in America today; he believes adamantly that art must concern itself with vision, and that poets learn best by an apprenticeship that is a kind of immersion in the work of other poets.
Companion Spider opens with a unique eighty page essay called "Novices: A Study of Poetic Apprenticeship" addressed to the poet who is just starting out. Subsequent sections take up the art of translation, poets and their work, and literary magazine editing. The title is drawn from an extraordinary visionary experience which the author had, which becomes a potent metaphor for the creative process. Through the variety of poets and artists to whom he pays homage, Eshleman suggests a community which is not of a single place or time; rather, there is mutual recognition and responsiveness, so that the reader becomes aware of a range of artistic practices s/he might explore
Ebook Edition Note: The essay, "Gull Wall," has been redacted.
Slavery, Sacrifice, and Survival
Connecticut in the American Civil War offers readers a remarkable window into the state's involvement in a conflict that challenged and defined the unity of a nation. The arc of the war is traced through the many facets and stories of battlefield, home front, and factory. Matthew Warshauer masterfully reveals the varied attitudes toward slavery and race before, during, and after the war; Connecticut's reaction to the firing on Fort Sumter; the dissent in the state over whether or not the sword and musket should be raised against the South; the raising of troops; the sacrifice of those who served on the front and at home; and the need for closure after the war. This book is a concise, amazing account of a complex and troubling war. No one interested in this period of American history can afford to miss reading this important contribution to our national and local stories.
Women, Art, and Family, 1740–1840
Connecticut women have long been noted for their creation of colorful and distinctive needlework, including samplers and family registers, bed rugs and memorial pictures, crewel-embroidered bed hangings and garments, silk-embroidered pictures of classical or religious scenes, quilted petticoats and bedcovers, and whitework dresses and linens. This volume offers the first regional study, encompassing the full range of needle arts produced prior to 1840. Seventy entries showcase more than one hundred fascinating examples--many never before published--from the Connecticut Historical Society's extensive collection of this early American art form. Produced almost exclusively by women and girls, the needle arts provide an illuminating vantage point for exploring early American women's history and education, including family-based traditions predating the establishment of formal academies after the American Revolution. Extensive genealogical research reveals unseen family connections linking various types of needlework, similar to the multi-generational male workshops documented for other artisan trades, such as woodworking or metalsmithing. Photographs of stitches, reverse sides, sketches, design sources, and related works enhance our understanding and appreciation of this fragile art form and the talented women who created it. An exhibition of needlework in this book will be held at the Connecticut Historical Society in late fall, 2010. Funding for this project has been provided by the Coby Foundation, Ltd., and the National Endowment for the Arts.