"Wier is a poet concerned with capturing the fluidity of thought and experience--and not diminishing its forward charge in doing so. Wier's lines have always had a wild whitewater crash to them, overwhelming any vessel she pours them into." --Boston Globe
"That's how one human leaves us" ends the first poem of Dara Wier's direct and powerful new collection, a raw and fluid exploration of grief. Wier records her thoughts with intelligence, clarity, honesty, and immediacy, showing us the unraveling of her world and her new consciousness after a great loss.
it would not be sufficient
the bleeding grief absence is
these words would
have such life
in and so of them
they would burn
we would begin
to smell smoke and think fire
Dara Wier is the author of numerous collections of poetry, including You Good Thing, Selected Poems, Remnants of Hannah, Reverse Rapture, Hat On a Pond, and Voyages in English. Also among her works are the limited editions (X In Fix) in Rain Taxi's Brainstorm Series, Fly on the Wall, and The Lost Epic, co-written with James Tate. She teaches workshops and form and theory seminars and directs the MFA program for poets and writers at the University of Massachusetts Amherst and co-directs the University of Massachusetts' Juniper Initiative for Literary Arts and Action. She is the co-founder of Factory Hollow Press in North Amherst, Massachusetts.
Winner, 2016 Kingsley Tufts Poetry Prize
Finalist, 2015 National Book Award, poetry category
Finalist, 2015 NAACP Image Awards, poetry category
Catalog of Unabashed Gratitude is a sustained meditation on that which goes away--loved ones, the seasons, the earth as we know it--that tries to find solace in the processes of the garden and the orchard. That is, this is a book that studies the wisdom of the garden and orchard, those places where all--death, sorrow, loss--is converted into what might, with patience, nourish us.
Finalist for the National Book Award for Poetry
Finalist for the T. S. Eliot Prize
Finalist for the Forward Prize for Best Collection
Ilya Kaminsky's astonishing parable in poems asks us, What is silence?
Deaf Republic opens in an occupied country in a time of political unrest. When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear--they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya's girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky's long-awaited Deaf Republic confronts our time's vicious atrocities and our collective silence in the face of them.
This edition of Elizabeth Bishop's Poems / Prose offers readers the opportunity to take in, entire, one of the great careers in twentieth century poetry.
This is the definitive edition of the work of one of America's greatest poets, increasingly recognized as one of the greatest English-language poets of the twentieth century, loved by readers and poets alike. Bishop's poems combine humor and sadness, pain and acceptance, and observe nature and lives in perfect miniaturist close-up. The themes central to her poetry are geography and landscape--from New England, where she grew up, to Brazil and Florida, where she later lived--human connection with the natural world, questions of knowledge and perception, and the ability or inability of form to control chaos.
Elizabeth Bishop's prose is not nearly as well known as her poetry, but she was a dazzling and compelling prose writer too, as the publication of her letters has shown. Her stories are often on the borderline of memoir, and vice versa. From her college days, she could find the most astonishing yet thoroughly apt metaphors to illuminate her ideas.
This volume--edited by the poet, Pulitzer Prize-winning critic, and Bishop scholar Lloyd Schwartz--includes virtually all her published shorter prose pieces and a number of prose works not published until after her death. Here are her famous as well as her lesser-known stories, crucial memoirs, literary and travel essays, book reviews, and--for the first time--her original draft of Brazil, the Time/Life volume she repudiated in its published version, and the complete extant correspondence between Bishop and the poet Anne Stevenson, the author of the first book-length volume devoted to Bishop.
Selected Poems includes over 200 works culled from Robert Lowell's books of verse--Lord Weary's Castle, The Mills of the Kavanaughs, Life Studies, For the Union Dead, Near the Ocean, History, For Lizzie and Harriet, and The Dolphin. Edited and with a foreword by the poet Frank Bidart, who also edited Collected Poems of Robert Lowell, this volume is a perfectly chosen representation of "the greatest American poet of the mid-century" (Richard Poirier, Book Week).
" Trethewey's poems] dig beneath the surface of history--personal or communal, from childhood or from a century ago--to explore the human struggles that we all face." --James H. Billington, 13th Librarian of Congress
Layering joy and urgent defiance--against physical and cultural erasure, against white supremacy whether intangible or graven in stone--Trethewey's work gives pedestal and witness to unsung icons. Monument, Trethewey's first retrospective, draws together verse that delineates the stories of working class African American women, a mixed-race prostitute, one of the first black Civil War regiments, mestizo and mulatto figures in Casta paintings, Gulf coast victims of Katrina. Through the collection, inlaid and inextricable, winds the poet's own family history of trauma and loss, resilience and love.
In this setting, each section, each poem drawn from an "opus of classics both elegant and necessary,"* weaves and interlocks with those that come before and those that follow. As a whole, Monument casts new light on the trauma of our national wounds, our shared history. This is a poet's remarkable labor to source evidence, persistence, and strength from the past in order to change the very foundation of the vocabulary we use to speak about race, gender, and our collective future.
*Academy of American Poets' chancellor Marilyn Nelson
Averno is a small crater lake in southern Italy, regarded by the ancient Romans as the entrance to the underworld. That place gives its name to Louise Gl ck's tenth collection: in a landscape turned irretrievably to winter, it is a gate or passageway that invites traffic between worlds while at the same time resisting their reconciliation. Averno is an extended lamentation, its long, restless poems no less spellbinding for being without conventional resoltution or consolation, no less ravishing for being savage, grief-stricken. What Averno provides is not a map to a point of arrival or departure, but a diagram of where we are, the harrowing, enduring present.
Averno is a 2006 National Book Award Finalist for Poetry.
No art has been denounced as often as poetry. It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."
In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.