Search results for ""White Pine Press""

"In the white space out beyond Elisabeth Frost's cropped tales, subtle situations, plausible and bizarre fantasias, you may sense the ghosts of Kafka and Borges strolling. But these delicious, low-key, disturbing and always surprising prose poems, with their train of lyric elegance, are a world unto themselves. All of Us is a compulsively readable book. And while you read, listen to the silences all around it."--Alicia Ostriker Elisabeth Frost is the author of The Feminist Avant-Garde in American Poetry and co-editor of Innovative Women Poets: An Anthology of Contemporary Poetry and Interviews.

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"Kaleidoscopic curiosity, powerfully kinesthetic language, and an encompassing compassion range in this abundant collection, in which personal and public realms serve as equal alembics for the distillation of both materia and light."-Jane Hirshfield "Rich is a traveler and an observant one at that, with a keen attention to detail and a wonderful ear. These poems are a delight."-Library Journal

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"Here are poems from a new generation of writers who honor the magnetic fields of the real; who feel and think with full and open-eyed passion; who focus heat as the magnifying glass focuses sun: until the paper catches. Read them."-Jane Hirshfield This anthology includes new work by an intriguing and culturally diverse group of fifteen poets, born after 1960, including Ruth Forman, Ilya Kaminsky, Malena Morling, Kevin Goodan, Jay Leeming, Terrance Hayes, Luljeta Lleshanaku, Sherwin Bitsui, Maria Melendez, Valzhyna Mort, Eugene Gloria, Brian Turner, Joshua Poteat, Maurice Manning, and Chris Abani. Editor Norman Minnick is the author of To Taste the Water.

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In this quiet, clear-eyed collection Townsend meditates on the varieties of loss, childhood bereavement, depression and divorce to arrive at the realisation that it is through loss that we come into possession of some of life's most profound gifts. She articulates what it was like to grow up motherless, explores life in a step-family, scrutinises depression, breaks codes of feminine silence, and celebrates the enduring power of place.

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Few writers are as integrally bound to place as Pablo Neruda was to the landscape of Isla Negra on the Chilean coast. From his arrival there in the late 1930s to his death in 1973, Isla Negra became a text that unraveled in a series of images fundamental to an understanding of his work. Renowned documentary photographer Rogovin's photographs were taken in Isla Negra at the suggestion of Neruda himself. The poems and photographs reveal the landscape of Isla Negra as well as the home into which Neruda put so much of himself. This volume is issued to celebrate the centennial of the Nobel Prize winning poet's birth.

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As a trilogy, the novellas offer a powerful resistance against the socio-cultural invisibility of the Jewish immigrant populations, as well as a significant contribution to the literature of marginalization and exile. Suez’s minimalist narratives have profound traces in the other side of the tapestry of what, in the end, is still very much a powerful and significant presence of Jews in Argentina. Indeed, Suez’s three novellas are exercises in reading those backside traces. They are, in the best feminist tradition, stories told from women’s point of view in the attempt to bring forth the way in which social history, so often forged consciously and unthinkingly by men oblivious to women’s participation in it, impacts on women’s consciousness.

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The poems in Aleš Šteger’s The Book of Bodies roam across personal experience, human history, and the natural world to unlock intellectual and emotional connections. Aleš Šteger’s The Book of Bodies directly follows—and builds on and veers from—The Book of Things. The 50 poems in The Book of Things focus on such everyday objects as umbrellas, chairs, and candles, and in so doing illuminate the human condition, particularly its propensity for violence, deception, and forgetting. The 50 poems in The Book of Bodies manage to be simultaneously more and less restrictive: half the poems are prose poems (of five paragraphs each) that roam across personal experience, human history (individual and collective), and the natural world to unlock intellectual and emotional connections; the other half are narrow stanzaless poems that focus on a single word. These poems have a sinuous, almost vaporous quality on the page—lines so thin that they serve as a response to the prose that dominates the first half of the book. Both types of poems in The Book of Bodies are essential to Šteger’s understanding of the world. “Esteemed American readers, Aleš Šteger is the real thing! He is the poet of inimitable gifts! He is one of the best Eastern European poets of his generation! It is the truth: Šteger is a marvelous voice, one that takes some of the playfulness of his Yugoslavian compatriots Vasko Popa and Tomaž Šalamun to the whole new level.” — Ilya Kaminsky Slovenian writer Aleš Šteger has published eight books of poetry, three novels, and two books of essays. A Chevalier des Artes et Lettres in France and a member of the Berlin Academy of Arts, he received the 1998 Veronika Prize for the best Slovenian poetry book, the 1999 Petrarch Prize for young European authors, the 2007 Rožanc Award for the best Slovenian book of essays, and the 2016 International Bienek Prize. His work has been translated into over 15 languages, including Chinese, German, Czech, Croatian, Hungarian, and Spanish. Four of his books have been published in English: The Book of Things, which won the 2011 Best Translated Book Award; Berlin; the novel Absolution; and Above the Sky Beneath the Earth. He also has worked in the field of visual arts (most recently with a large scale installation at the International Kochi-Muziris Biennale in India), completed several collaborations with musicians (Godalika, Uroš Rojko, Peter N. Gruber), and collaborated with Peter Zach on the film Beyond Boundaries. Brian Henry is the author of eleven books of poetry, most recently Permanent State. He co-edited the international magazine Verse from 1995 to 2018 and established the Tomaž Šalamun Prize in 2015. His translation of Aleš Šteger’s The Book of Things appeared from BOA Editions in 2010 and won the Best Translated Book Award. He also has translated Tomaž Šalamun’s Woods and Chalices (Harcourt, 2008), Aleš Debeljak’s Smugglers (BOA, 2015), and Aleš Šteger’s Above the Sky Beneath the Earth (White Pine, 2019) and Berlin (Counterpath, 2015). His work has appeared in The New Yorker, The Paris Review, the New York Times, Poetry, The New Republic, American Poetry Review, and many other places. His poetry and translations have received numerous honors, including two NEA fellowships, the Alice Fay di Castagnola Award, a Howard Foundation fellowship, the Carole Weinstein Poetry Prize, the Cecil B. Hemley Memorial Award, the George Bogin Memorial Award, and a Slovenian Academy of Arts and Sciences grant.

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"Mystical, mischievous, and musical, Kuciak enchants me with the scope of her imagination, her whimsical flirtations with identity, theology, and the very nature of human existence. I am delighted by her lyrical flare, her wit, and her remarkable ability to be both one and many poets, or one poet with twenty one voices."--Nin Andrews This faux anthology of twenty-one invented poets belongs in the company of world literature's distinguished fabulists--Fernando Pessoa and Italo Calvino--in blurring the boundary between the textual and actual worlds. Agnieszka Kuciak lives in Poznan, Poland, and is the author of two collections of poetry.

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The writing of Cuban women writers is virtually unknown in this country. Ten of the best Cuban women writers who have risen to prominence in the last decade of the 20th century are included in this anthology which focuses on the challenging period after the collapse of the Soviet Union and the withdrawal of its economic support to the island. The stories here have been selected both for their individual excellence and for their collective panorama of a stressful and fascinating decade. An introduction is provided by Luisa Campuzano, one of contemporary Cuba's most insightful critics. The authors include: Karla Suarez, Anna Lidia Vega Serova, Adelaida Fernandez de Juan, Nancy Alonso, Aida Bahr, Ena Lucia Portela, Mirta Yanez, Mylene Fernandez Pinatado, Marilyn Bobes, and Sonia Bravo Utrera. The stories reflect a wide range of experiences in the new Cuba and give the reader a window into an unknown culture that lies 90 miles off the US coast. The translators include Mary Berg, Pamela Carmell, Dick Cluster, Sara E Cooper, Cristina de la Torre, Nancy Festinger, and Anne Fountain.

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"To the pantheon of East European poets-Zagajewski, Szymborska, Herbert, Holub -- we must now add Martinaitis. 'K.B.,' the poet's common-man alter ego, has one foot in the miseries and fears of the post-Soviet era, one in the usual turmoils of the human self. In Laima Vince's wonderful translation, this poetry is sharp, comic, salty, yet at the same time overflowing with compassion and tenderness." - Alicia Suskin Ostriker

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A bilingual poetry collection in which a microwave, a fly, a soup, a football match, a train, or a child in the subway serve as pretexts to explain the tragic nature of life when death is involved. One with strong personality and the double capacity of playing with language and using it as a mirror of the Mexican reality, sometimes violent, with memorable lines and reflections of great depth.

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A career-spanning volume drawn from forty years of work and a selection of new poems.Stephen Corey’s work is intelligent, moving and engaging. Poem after poem is beautiful, effortless, and thought-provoking. The range of style and subject matter, the depth of thought and emotion, the elegance and resonance and simplicity of language, the affectionate voice and tone—all work to make this a truly important and memorable book.“Here is a life, and a life, and / a life,” Stephen Corey writes in the opening poem’s instructions to on how find the faded leaf—also a metaphor for the end of life—that one must imagine still colored after he is “gone.” The poem is echoed near the end of this stunningly rich and encompassing book in a poem addressed to his four daughters about what he has missed during his life. In between we encounter a world we thought we knew but have not seen in this way before: things as varied as Monarch butterflies, telephones, calligraphy, and bread, as well as other writers and texts that become lenses to show us “How we are growing undoes what we are” and see.Like the glassblower’s art in one of these major poems, “Breath makes another world.” And like his Michelangelo in a sequence that masterfully covers centuries, we see “the way a life we love can be steered, / beyond our control, beyond us.” And so, thanks to this important and needed book we too can live beyond ourselves; that, indeed, is the highest praise for any art.”—Richard Jackson, author of Broken Horizons and Where the Wind Comes From“Stephen Corey’s, As My Age Then Was, So I Understood Them, is sometimes bookish, in the best ways, and in addition to welcoming many of the stars in our pantheon (Shakespeare, O’Keeffe, Keats, Ginsberg, Woolf, and Whitman for example) there’s also the dual elegy for the poet’s father and Dickinson (the latter also has her own baseball poem), Emerson ‘at the moment of his first masturbation,” and a sequence in which Li Po and Tu Fu hop on a jet and tour America. What this means is that when Corey forays into “the real world” —keeping a hospital death watch, exploring and exalting carnal love, or delighting in his young daughter “playing Beethoven on my chest” — the poems are informed by both of his masters… by the “shelves of books” that are “the bones of my brain.””—Albert GoldbarthStephen Corey worked at the Georgia Review for thirty-six years in various positions including thirteen year as Editor before retiring in 2019. His first two poetry collections, The Last Magician (Water Mark Press, 1981) and Synchronized Swimming (Swallow’s Tale Press, 1984), were winners of national competitions. All These Lands You Call One Country (University of Missouri Press, 1992) and There Is No Finished World (White Pine Press, 2003) followed, and a half-dozen poetry chapbooks were interspersed along the way. His first prose collection was Startled at the Big Sound: Essays Personal, Literary, and Cultural (Mercer University Press, 2017), and a second is in process.

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A hybrid memoir and valentine to her firstborn, Letdown encompasses the story of a woman when fertility issues arise at the same time the diagnosis of her son’s autism, complicating motherhood in unexpected ways. Portrays the transcendence found amidst difficulty.

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This collection contains some of Bly’s seminal essays on poets and poetry including: Looking for Dragon Smoke, The Eight Stages of Translation, Six Disciplines that Intensify Poetry, and essays on Hirshfield, Stevens, Whitman, Wright, Rilke, Machado, Stafford and others.

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"Goll was in the avant-garde of various literary scenes. A central figure in the German world of Dada and Expressionism in Berlin; a founder alongside Eulard and Apollinaire of the French Surrealist movement in Paris; friend and collaborator with Picasso, Leger, Dali, Braque, Chagall, Tanguy and James Joyce; playwright and precursor to Ionesco’s “Theatre of the Absurd,” and Artaud’s “Theatre of Cruelty”; the celebrated editor of Hemispheres magazine in the U.S. and friends of William Carlos Williams, James Laughlin of New Directions, and Kenneth and Miriam Patchen, among others."

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In Mars Poetica, Wyn Cooper explores the conscious and unconscious ways we comprehend both the world around us and the one inside. From subjects like fashion, film, music, and painting, to more solemn and universal themes such as desire, anxiety, and loss, Cooper shows how such disparate topics can mirror each other in ways that help us to illuminate our lives. Employing various styles, forms, and sensibilities, Cooper’s poems both celebrate and mourn, as a means of illustrating the necessity for maintaining equilibrium in an increasingly unbalanced world.

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"These musical poems sing the mystical connections between all lighthouses and those who love them. From Ulysses and Penelope to the angel of dreams to the girl who fell in love with the lighthouse keeper, this book is full of hopeful, desperate lives seen through the bittersweet mist of dreams."--Linda Rodriguez "Agosin's poetic knowledge engages the reader in a mesmerizing journey of inward reflections."--Isabel Allende "Marjorie Agosin proves the power of the word to transport us to the center of her humane vision."--Julia Alvarez Marjorie Agosin is an award-winning poet and human rights activist.

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"The wildly imaginative poems of Tiger Fur read like burning transcripts of one possessed with the rare gift of pure poetry. The collection is a hymn to desire, and to the ecstasy and pain of love, each poem aching with the yearning for connection. It's also a hymn to the imagination, and Maranhao's love of linguistic play and paradox makes these poems difficult to translate. Levitin's finely nuanced, inspired renderings are, however, as wondrous as the originals. One cannot read this collection without being marked, eyes ablaze and singed with the poet's vision."-Sheryl St Germain "Alexis Levitin has given us a perfect English rendering of Salgado Maranhao's deft expression of the tonality of this people and land."-Gregory Rabassa Salgado Maranhao is the author of nine collections of poems. Blood of the Sun previously appeared in English translation. Alexis Levitin has translated thirty-one books of poetry.

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"A delectable selection of poems by China's greatest women poets in translations of exquisite beauty. A rare achievement!"--Red Pine "Jade Mirror's particular strength comes from the fact that all of its fine translators bring to the work different senses of where poetry is to be found in the originals as well present some of the finest poetic translation of the last twenty years."--Jerome Seaton This anthology spans twenty-five hundred years of writing by women. These are voices that were most often left out of the official anthologies and represent a hidden tradition that deserves a wider audience.

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Available for the first time, this significant volume collects over one hundred of Robert Bly's prose poems written over a period of five decades. It includes the bulk of several landmark out-of-print volumes as well as uncollected poems and new material. Bly has been one of the leading writers of the prose poem since the re-emergence of the form in the 1960s.

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"Magdalena" is a finely drawn collection which, with sometimes painful honesty, examines the vagaries and vicissitudes of a heart in conflict with itself. The poems invoke the nature of an independent woman embracing her sexuality, travels, and being in the world.

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Winner of the 1993 Lavan Younger Poets Award from the Academy of American Poets, Merrill's previous work has received wide acclaim.

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"Whatever Shines is an admirable and dazzling first collection. The voice is indisputably unique and haunting, and one looks forward to anything the poet writes in the future." --Jim Harrison

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Here, at last, a major collection of John Brandi's work, spanning nearly thirty years of travels -- from early poems written in South America to those from India, the Himalayas, the Arctic, the North American outback, the deep solitude of New Mexico's mountains -- and, always, from the continent of the heart. Eight out-of-print books by John Brandi are represented here, as well as selections form recent work, enhanced by thirty journal drawings.

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A iterary testament to friendship and the ways in which a vibrant collaboration can inspire poets to plumb the depths of their experiences.The concluding volumes of a ten-year-long conversation in prose poetry between the award-winning poets Marvin Bell and Christopher Merrill. They write from different generations and places around the world on a range of themes from memory to politics, aging and mortality, the vagaries of desire and the imagination.Bell and Merrill wanted to create a wide-ranging dialogue to explore the meaning not only of their separate experiences but of the very ways in which a collaboration fosters a deeper engagement with each other—and the world. In his penultimate message to Merrill, written just hours before he suffered a heart attack from which he never recovered, Bell said that what he loved about their collaboration was that each new prose poem defined his immediate future—which was what Aft

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Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane HirshfieldBuilding the Barricade, is poetry of witness, and a lyric account of the sixty-three day Warsaw uprising.Caught between German occupation and the advancing Soviets, the Polish Resistance Home Army barricaded central Warsaw in hopes of liberating the city and gaining Polish sovereignty. Building the Barricade is Anna Świrszczyńska’s first-person account of the atrocities that destroyed over 60% of the Polish capital and left over 100,000 civilians and 16,000 Polish resistance fighters dead.Świrszczyńska had joined the resistance as a military nurse and later wrote: “Day and night German bombers raged over the capital, burying the living beneath the rubble.”

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Efe Duyan translates the silent intention behind our instinctive, urgent need of human expression and connection. Duyan's poetry is based on finding unique linguistic forms that fit the respective content of the poem. Through a visible structure, he combines complex metaphors in a rhythmic way, to integrate the daily language by decontextualizing it, and to construct a network of meaning in the background. He is influenced by the art movements of Futurism, Surrealism, conceptual art, and medieval Middle Eastern poetry as well as the modern conception of functionality in architecture. Some poems, built like houses with architectural intention, draw us in through their overall design, clean fine lines breaking at striking angles, guiding our eyes through carefully defined spaces opening to hallways that irresistibly lead us to unexpected enclosures where natural light plays among the walls breathe life into the lives for which they are intended. Where form and function are inseparable, the space is not merely for dwelling. It asks to be experienced. Physically, materially.

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This novel unravels a tale of vengeance and vigilante justice at the hands of an unlikely heroine, a fourteen year-old girl named Lum Hué, daughter of a white man and a Mapuche mother, and sole survivor of the massacre of her village by five white soldiers. With a minimalist prose that has become the trademark of Suez’s narrative fiction, the novel unfolds at a vertiginous pace. A recurring theme in Suez’s fiction is authoritarianism, specifically the imposition of power over the weak and defenseless. A fan of Quentin Tarantino films, Suez refers to The Devil’s Country as her Patagonian Western.

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The Book of Mirrors is a silver portal opening to the hidden garden of a fragrant universe.The Book of Mirrors by Yun Wang takes the reader on a journey of enlightenment through unexpected discoveries and heartbreaks. This adventure spans different realms: the ancient and the present, the physical and the metaphysical, poetry and science. It is an insistent search for truth, goodness, and beauty, within the scope of the infinite universe.

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Even at high-altitude acclimatization camps, he did not stop writing poems in his 7+2 Mountain Climber’s Diary. He climbed and trekked to the most pristine vantage points on earth, from which he contemplated his life in the 21st century. He carried his poetic sensibility to the peaks.

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