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Continued is a selection of poems by Piotr Sommer, spanning his career to date. A kind of poetic utterance, these "talk poems" are devoid of any singsong quality yet faithfully preserve all the melodies and rhythms of colloquial speech. Events and objects of ordinary, everyday life are related and described by the speaker in a deliberately deadpan manner. Yet a closer look at the language he uses, with all its ironic inflections and subtle "intermeanings," reveals that the poem's "message" should be identified more with the way it is spoken than with what it says. The poems in this volume were translated into English with the help of other notable poets, writers, and translators, including John Ashbery, D.J. Enright, and Douglas Dunn.
Selected Early Poems
Co-winner of the 1983 National Book Award for Poetry, Country Music is comprised of eighty-eight poems selected from Charles Wright's first four books published between 1970 and 1977. From his first book, The Grave of the Right Hand, to the extraordinary China Trace, this selection of early works represents "Charles Wright's grand passions: his desire to reclaim and redeem a personal past, to make a reckoning with his present, and to conjure the terms by which we might face the future," writes David St. John in the forward. These poems, powerful and moving in their own right, lend richness and insight to Wright's recently collected later works. "In Country Music we see the same explosive imagery, the same dismantled and concentric (or parallel) narratives, the same resolutely spiritual concerns that have become so familiar to us in Wright's more recent poetry," writes St. John.
The Rider Quintet, vol. 4
In his Rider trilogy, Mark Rudman perfected a mixed genre form -- combining dialogue, lyric and prose. While employing some of the same techniques that have become "signature Rudman" -- the compact, colloquial line, dazzling shifts from popular culture to classical history -- The Couple also breaks new ground. This new book is a collection of discrete poems organized around four poem sequences, "Long-Stemmed Rose," "The Shallowness of the Lake," "Perseus Surprised, Andromeda Unbound," and "Fragile Craft." As the title suggests, the theme of relationships, both dark and erotically-charged, emerges here as Rudman's focus. The couples in the book include parents, lovers, a young boy and girl in elementary school, Perseus and Andromeda, Mary Ure and Robert Shaw, and Dean Martin and Jerry Lewis.
Carl Freedman traces the fundamental and mostly unexamined relationships between the discourses of science fiction and critical theory, arguing that science fiction is (or ought to be) a privileged genre for critical theory. He asserts that it is no accident that the upsurge of academic interest in science fiction since the 1970s coincides with the heyday of literary theory, and that likewise science fiction is one of the most theoretically informed areas of the literary profession. Extended readings of novels by five of the most important modern science fiction authors illustrate the affinity between science fiction and critical theory, in each case concentrating on one major novel that resonates with concerns proper to critical theory.
Freedman's five readings are: Solaris: Stanislaw Lem and the Structure of Cognition; The Dispossessed: Ursula LeGuin and the Ambiguities of Utopia; The Two of Them: Joanna Russ and the Violence of Gender; Stars in My Pocket Like Grains of Sand: Samuel Delany and the Dialectics of Difference; The Man in the High Castle: Philip K. Dick and the Construction of Realities.
The Life and Times of Morgan Gardner Bulkeley
While president of Aetna Life from 1879 to 1922, Morgan Bulkeley served four terms as mayor of Hartford, two terms as Connecticut's governor, and one term as a United States senator. His friends and business and political acquaintances were a who's who of the Gilded Age: Samuel Clemens, J. P. Morgan, Samuel and Elizabeth Colt, Harriet Beecher Stowe, Leland Stanford, Charles Crocker, Albert Spalding, General Sherman, Oliver Wendell Holmes, Katherine Hepburn, as well as every president from Ulysses Grant to Warren Harding. In 1874 Bulkeley formed the Hartford Dark Blues who soon joined the unruly National Association, antecedent of the National League. He served as the league's first president for a year, and was later elected to the Baseball Hall of Fame in Cooperstown. It was during Bulkeley's controversial "holdover" term as governor that he earned the nickname "Crowbar Governor." He used a crowbar to remove a lock that had been placed on his office door after refusing to vacate the governor's chambers on a technicality. Written in classic storyteller fashion, and augmented by copious research, Crowbar Governor offers readers a privileged glimpse into life and politics in Connecticut during the Gilded Age.
Ebook Edition Note: Eight images from the Connecticut Historical Society have been redacted.
Cultural Diplomacy and the Cold War
At the height of the Cold War in 1954, President Eisenhower inaugurated a program of cultural exchange that sent American dancers and other artists to political "hot spots" overseas. This peacetime gambit by a warrior hero was a resounding success.
Among the artists chosen for international duty were Jose Limon, who led his company on the first government-sponsored tour of South America; Martha Graham, whose famed ensemble crisscrossed southeast Asia; Alvin Ailey, whose company brought audiences to their feet throughout the South Pacific; and George Balanchine, whose New York City Ballet crowned its triumphant visits to Western Europe and Japan with an epoch-making tour of the Soviet Union in 1962. The success of Eisenhower's program of cultural export led directly to the creation of the National Endowment for the Arts and Washington's Kennedy Center.
Naima Prevots draws on an array of previously unexamined sources, including formerly classified State Department documents, congressional committee hearings, and the minutes of the Dance Panel, to reveal the inner workings of "Eisenhower's Program," the complex set of political, fiscal, and artistic interests that shaped it, and the ever-uneasy relationship between government and the arts in the US.
CONTRIBUTORS: Eric Foner.
Intimate Conversations with Great Dancers
The Dancer Within is a collection of photographic portraits and short essays based on confessional interviews with forty dancers and entertainers, many of them world-famous. Well-known on the concert stage, on Broadway, in Hollywood musicals, and on television, the personalities featured in this book speak with extraordinary candor about all stages of the dancer’s life—from their first dance class to their signature performances and their days of reflection on the artist’s life. The Dancer Within reveals how these artists triumphed, but also how they overcame adversity, including self-doubt, injuries, and aging. Most of all, this book is about the courage, commitment, love, and passion of these performers in their quest for artistic excellence. The reader will quickly realize that “the dancer within” is a metaphor of the human spirit.
From the depths of sorrow following the sudden death of her closest female mentor, Brenda Hillman asks anguished questions in this book of poems about separation, spiritual transcendence, and the difference between life and death. Both personal and philosophical, her work can be read as a spirit-guide for those mourning the loss of a loved one and as a series of fundamental ponderings on the inevitability of death and separation. At first refusing to let go, desperate to feel the presence of her friend, the poet seeks solace in a belief in the spirit world. But life, not death, becomes the issue when she begins to see physical existence as "an interruption" that preoccupies us with shapes and borders. "Shape makes life too small," she realizes. Comfort at last comes in the idea of "reverse seeing": that even if she cannot see forward into the spirit world, her friend can see "backward into this world" and be with her.
Death Tractates is the companion volume to a philosophical poetic work entitles Bright Existence, which Hillman was in the midst of writing when her friend died. Published by Wesleyan University Press in 1993, it shares many of the same Gnostic themes and sources.
A haunting and peculiar travelogue, Deeds of the Utmost Kindness employs forms as diverse as haiku and prose poetry in settings that range from Japan to the rural Ozarks to contemporary Moscow. The compelling strangeness of the poems' precise details exposes varied rhythms of thought and illustrated how different logics work in the metaphoric structures of changing places . Yet behind the uneasy sense of dislocation felt by the constant traveler lies the personal, essentially moral, voice of the poet as observer.