Search results for ""Station Hill Press""

Homophonic translations create poems that foreground the sound of the original more than the lexical meaning: sound-alike poems or “sound writing.” This essay presents a dizzying number of examples of sound mimesis as a way to explore the poetics of sound and the politics of translation. Covering modernists (such as Pound, Bunting, and Khelbnikov) and contemporaries (such as David Melnick and Caroline Bergvall), the Bernstein also addresses homophonics in popular culture including an extended discussion of TV comedian Sid Caear’s “double talking.” The essay raises a thorny question: Are homophonic poems a form of cultural appropriation or a form of transnationalism?

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Awareness Inside Language is the most comprehensive discussion of poet-artist George Quasha's "axial poetics" as it plays out in his work of the past twenty years, called "preverbs," represented in four published volumes: Verbal Paradise, Things Done for Themselves, The Daimon of the Moment, and Glossodelia Attract. In the form of an interview conducted by poet Thomas Fink, it addresses how apparently difficult poetry teaches new ways of reading and thinking.

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In subtitling this book "A Divine Comedy," the poet Marc Vincenz brushes up against Dante, and yet he does so "in the pulse of a breath, /waiting for the rain / to wash away the dream." There is light here—not perhaps the roseate of the Florentine retinue—but one we can use right now: "All visions / gone, but this, a world, / a world / dancing ahead." Vincenz questions notions of humanity, the potency and power of language over time, implying perhaps that codes have driven us throughout history and that the emergence of the AI will yield the next stage in its evolution. After a long night of the soul, where formal religion yields to love and imagination, we emerge to a healing space that is both inner and outer, physical and spiritual. The Syndicate of Water & Light gives us a sense that we can grow in knowledge and that we can change—if not, perhaps, the world, then at least within ourselves.

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FROM MIMIR'S HEAD comprises two reciprocal passes through the same terrain - a sequence of poems mostly exploring ontological matters in a variety of verse inventions, and a series of notes in a prose equally exploratory and inventive. In both, the quickly shifting diction is at once mercurial and immaculate, theimages vivid and well-ordered, the structures musical and truly spoken, and the thought, if philosophical, nonetheless sprung from the recognition of the limits of metaphysical discourse. Stein writes: The philosopher shouldbe discouraged in his metaphysical pretension, but the metaphysician encouraged in his poetic need.

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SPEAKING ANIMATE: PREVERBS is one of seven preverb complexes comprising the unpublished book Exchanging Intentions, itself one of seven books of preverbs, of which the first to be published was VERBAL PARADISE (Zasterle: 2011). A preverb is like a proverb, a one-line capture of wisdom, but at the raw stage before wisdom. Such an open intentional act of language invites configurative reading as a singular event of variable meaning. An instance of axial poetics, it puts language on its own stepped-up recognizance.

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Paul Celan, arguably the mid-20th century's most important German-language poet, is commonly pigeonholed as a poet of the Holocaust-a term, however, he never used. Undoing facile assumptions about Celan, Corona charts a more idiosyncratic and personal path through Celan's large oeuvre, choosing 103 poems from among the more than 900 Celan published. The bilingual selection includes work from all of Celan's periods and genres. Without ignoring the poet's well-known work of memory and memorialization, it seeks to open a space for new appreciation of Celan's love poems, as well as his poems on political events, painful reflections on his stays in mental hospitals, and quasi-burlesque verse. Susan H. Gillespie's translations are characterized by their ease of diction and their attention to the somatic and rhetorical aspects of Celan's lines-their sound, gait, tone, and gravity-as well as to their internal and external echoes. The latter, elucidated in notes to the poems, include references to other poets and to Celan's wide readings of everything from specialized dictionaries to other writers-what Roman Jakobson called their poetic etymology.

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The Unavowable Community is an inquiry into the nature and possibility of community, asking whether there can be a community of individuals that is truly “communal.” The problem, for Blanchot, is that the very terms of an ideal community make an “avowal” of membership in it a violation of the terms themselves. This meditation ranges from the problematic effects of a defect in language to actual historical experiments in community. The latter involves the life and work of George Bataille whose concerns (e.g. “the negative community”) occupy the foreground of Blanchot’s discussion. Taking as his point of departure an essay by French philosopher Jean-Luc Nancy, Blanchot appears once again as one of the most attentive readers of what is truly challenging in French thought. His deep interest in the fiction of Marguerite Duras extends this inquiry to include “The Community of Lovers,” emerging from certain themes in Duras’ recit, The Malady of Death. As Blanchot’s first direct treatment of a subject that has long figured in or behind his work, this small but highly concentrated book stands as an important addition to his own contribution to literary, philosophical, social, and political thought, figuring as it does at the center of the emerging concern for a redefinition of politics and community. Readers of Blanchot know not to expect answers to the great questions that move his thought – rather, to live with the questions at the new level to which they have been raised in his discourse.

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How Wild? is the first to be published in a series of works left by Linda Crane at her death in 2000 and currently being edited by her estate. Her poems have a koan-like directness and poignancy and flow from her life-long practice of Zen meditation and her work as a shamanic healer. They radiate from a refreshingly animist sensibility, where garden flowers, small animals, mountains and human relationships share without obstruction the open space of primordial being. One can feel the nourishing spirit in these poems that so many of her students, clients and friends knew directly from their contact with her. The poems are imbued with an awareness of mortality that amazingly reflects death's gravity while retaining alertness and humor.

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Ec(o)logues is a Menippean Satyre (mixed poetry and prose, both serious and humorous) inspired by Virgil's Eclogues.

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Useful Knowledge is pleasant and therefore it is very much to be enjoyed, writes Gertrude Stein in her Advertisement for this Book-an apt characterization of the experience of reading it sixty years after its disappearance from print. Despite her long expatriation, she always remained in her words, firmly born in Allegheny Pennsylvania. Indeed- physical detachment from her homeland seems only to have deepened her love for the country, a passion very nearly erotic, that blossomed in this private remembrance that is both tender and humorous. War, Woodrow Wilson, Chicago, Sherwood Anderson-such is the range of her intimate concerns. As for the significant questions to which her writings respond: Wherein Iowa differs from Kansas and Indiana and Wherein the South differs from the North, useful knowledge indeed, when the thought is opened along with the word in these extraordinary prose inventions. Keith Waldrop's introduction furnishes new insight into the process and development of Stein's infamous style as always more intricately evolving than is recognized. And Edward Burns provides useful knowledge about Useful Knowledge, the kind of information about Stein's text that we rarely find when we most want it

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This book gathers all the poems written by Lynn Lonidier (1937-1993) between her last book and her death. Lynn Lonidier was a streetwise, visionary poet whose idiom was a jazzy American English with San Francisco Mission-district Spanish thrown into the mix. Unequivocally lesbian and feminist, consistently dedicated to the underprivileged, her work brims with anger and irony, energy and humor, yet is suffused with loving tenderness throughout.

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Just as the discovery of America in the fifteenth century forever altered the way Europeans viewed the world, so too did the theories of relativity and quantum physics radically alter the twentieth-century vision of the universe. Both encounters with otherness, on both a global and personal level, form the crux of Rosmarie Waldrop’s extraordinary novel. The story roams the political worlds of old Mexico and Washington, D.C., and goes on to fuse the two great perceptual revolutions of the fifteenth and twentieth centuries—so that it is Columbus, in her fiction, who discovers the unpredicted particles of the new quantum physics. Waldrop’s brilliant narrative shifts from stream of consciousness to first-person narration to poetry, in a unique meditation on love and politics, conquest and tolerance, and the effects of change.

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Text in Spanish. In 2002, while temporarily living in Europe (mostly Amsterdam), the poet Omar Pérez began writing in a notebook. His journey began as a short professional visit that shifted into something less defined after he fell in love. Eventually the notebook became Cubanology , a book of days reflecting on three years of life at a remove from the island: "A memory of a flight, a journey, jour." Along with registering common and uncommon vicissitudes of everyday life, the result presents a fusion of languages. Simultaneously national and polycultural, Cubanology streams poetic thought and experience, excerpts from other writings in progress, and the coalescence of a new islandic consciousness - scenes reminiscent of many-minded Odysseus, if home were heart. Visual material appearing throughout Cubanology blends Pérez's sketches with photographs from that period, as well as art he made after returning to his family home on Havana's iconic Malécon.

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Out of the Question: Selected Poems 1963-2003 gathers together a generous sample of work from Lewis Warsh's many earlier collections. Warsh has been associated with the community of New York School writers who first met at The Poetry Project in Manhattan in the late 1960s, but as poet Forrest Gander writes, in a review of Warsh's book Inseparable, "his influence has been felt nationally and internationally." Out of the Question includes two long poems: The Suicide Rates, first published in 1967, and The Corset, which appeared in 1986. Novelist Paul Auster described The Corset as "not a poem so much as a new way of seeing the world. There is a stunning intelligence at work here, a fierce, deadpan wit that disturbs and enlightens in equal measure." Auster's comment can be applied to all of Warsh's ongoing experiments, as both a poet and a fiction writer, and Out of the Question is the best possible introduction to anyone unfamiliar with his multi-layered body of work.

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House Crossing is a book of 32 poems about where we live or, more properly, dwell, with each poem entitled by a different attribute of domestic architecture as it is commonly known: Cupola, eaves, attic, beams, etc. Such might lend itself to description, but--reminiscent in part of Ronald Johnson's oeuvre (The Foundations, The Spires and The Ramparts)--in the vision of poet and scholar Laurie Patton each component becomes alive to an actuality beyond physical construct: The poetics of how we hold our ground, even if it is in flux--or as she writes, "A river runs... below the house." The instigation for this poetic cycle is Gaston Bachelard's The Poetics of Space, with this collection a homage to that classic phenomenological analysis. As she writes in her introduction, House Crossing arose as "a straightforward observation about the endurance of Bachelard's work: if a poetics is good enough, and I believe Bachelard's is, then it does not only comment on poetry, but can give rise to poetry as well." What Patton gives rise to is in part an opportunity for us each to live more evocatively in our days and nights in each our own place, building a being, as "Noah's ark stands / at the end of our hallway."

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The art of the human image arose millennia ago as a way beyond impermanence and, especially, to keep the dead among us. The pictorial object – the icon – often carried a charge as ritual or ceremonial artifact and, indeed, as a thing with a certain power. The artist Heide Hatry has extended this tradition by creating realistic portraits made out of the actual ashes of the departed person portrayed. Are the results reminiscent of ancient sacred and secular traditions and their complex, even mysterious function to, say, calm, enrich or transform our experience? Icons in Ash includes twenty of Hatry's portraits and twenty-seven contemporary writers who explore this phenomenon in original and engaging meditations on death, the dead body, art, relics, psychology, philosophy, religion, mourning, evolution, transformation, and immortality. Contributors include, among others, Hans Belting, Mark Dery, Eleanor Heartney, Siri Hustvedt, Jonas Mekas, Rick Moody, Mark Pachter, Steven Pinker, Wolf Singer, Luisa Valenzuela, and Peter Weibel. Normal0falsefalsefalseEN-USJAX-NONE

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This lovely book of poems, written in Woodstock, NY, carries inspiration from various places.Prefaced by 12 Poems That Were Never Written, the book is divided into three sections, Natural Megaron, Preposition Poems and Lung Poems, corresponding to three distinctive methods Radfar used to write her way into time and space: settling down with her journal on a hilly overlook after a 30 minute walk; removing prepositions while still managing to talk about her relation to space; writing at a fixed time in the middle of the night. In going as far as she can in each of these disparate directions, she summons, with a surprising degree of certitude, a sense of how this specific place once affected her writing and her life.One of the poems included is:[i]Position, I have soughtyour proper placehave landedsnake-likeyour tumescentrock pilegrassywildoracularPosition, I can't speakall the places you aremy tendencymy perpetual circumstanceI will come, give meentrance[/i]

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This series of experimental poems—written in continuous prose-like paragraphs but with the rhythmic attentiveness of the finest verse - allows the ever-shifting present to emerge like various threads of a fabric in the making. Economic, political, and poetic subjects weave through the text, delivering meanings on one page that are unraveled on the next. Familiar word patterns transmute suddenly with an associative leap or syntactic twist or a play on sound, enacting the sense of the body in motion, the self seeking the other, or catching glimpses of the divine.

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This book is a guide book to the Seven Wonders of the ancient world, seven long solos in a jam session with the dead, an answer to the four great philosophic questions of Immanuel Kant, the song of a barbaric horde, an eavesdropping at the borders of contemporary history, an account of an apocalyptic disco….And the presiding beings are Beethoven, Napoleon, Sousa, Frank Woolworth, Buddy Bolden, Charlie Parker, and Ludwig Wittgenstein. You are invited to participate. R.S.V.P.

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A legendary storyteller and writer who has charmed New York audiences for decades, Holst first evolved his oeuvre in the 1950s-60s milieu of Greenwich Village, influenced as much by sophisticated poets/writers (e.g. Hart Crane, Jorge Luis Borges) as by fairy tales/tall-tales which his writings superficially resemble. Each of his sentences, paragraphs, and very, very short stories is a complete and independent act of narrative that delivers the very essence of narrative fiction. In spite of their brevity, these are works of great variety and complexity, displaying a fine intelligence and an inexhaustible capacity for verbal surprise. Holst breaks the very frame of what a story is and what language can do.

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The first version of the Tao Te Ching to locate itself definitively in the City, this highly readable new translation joins the timeless verses of the ancient Chinese classic with lushly textured color photographs in a truly urban incarnation, creating itself anew from the streets of New York. Betsy Wyckoff's photographs of city lights, surfaces and reflections are a revelation in themselves, and lend a new depth, poignancy and immediacy to the revelatory passages of the Tao. These words and images provide a contemplative counterpoint to recent photographs of tragedy and heroism in New York, and an unexpected view of the city through the discerning eye of a long-term resident.

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Can you fly like a Shaman and still be a Christian? What if the paths of Shamnaic warrior and Christian mystic happen to converge? What if the Christian's "mission" were not to convert the heathen" but to awaken to the truth through the widom of native peoples? Complling answers to these questions emeger in Patton Boyle's visionary narrative, reminescent by turns of Richard Bach and Carlos Castaneda as it details a Christian's recovery of the Spirit through the teachings of a Native American medicine man.

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With meticulous attention and humor, she catalogs our human foibles in search of a happiness that, when the mind is clear, is revealed to be right here and now. Intermingled with a telling of her own miraculous journey of discovery and eventual self-realization, Yogmata-Ji explains the forms of mental entrapment by which humanity dreams away life. While clearly articulating the tenets of her own Himalayan Wisdom practice, she explains: “real yoga”; how the traditions of Jesus Christ and Buddha are synonymous with her own; the nature of true religion; what happens in the afterlife; and the wonderous efficacy of prayer. Written in a colloquial, down-to-earth, empathic style, this book is a must-read for all seeker of the truth.

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Vyt Bakaitis, poet and eminent translator from the Lithuanian, has gathered here poems from the past decade. This new collection, Refuge & Occasion, pursues several strands that ultimately braid together with characteristic freedom of shape and music whereby the requirements of the utterance design its flow. He writes: “Strange all I found and still carry/ what I remember left me to wonder.” Elegies and lyrics of erotic loss, tensely noted and feelingly unwound form one strand. The poet turns his eye and heart to cruder disappointments of the current political moment in several longer poems that aggressively explore the failures of human action and illusory consolation. “What’s real is the fact” the poet wryly notes. There are also several poems to honor significant occasions of being moved and sustained by art along with a number of outright odes to his muses. The charged enigma that winds through all of the poems, however, is the tension of enduring spiritual stasis and uncertainty. “Let’s pull out some maps. There are none” is where the poet starts. The mystery of life’s refusals is countered by a profound sense of the flow willing “times curvature to catch” both in memory and in ecstatic instances that “the wild wave struck … young as the storming moment.”

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In Ainu Dreams, poet George Quasha and buun, a Japanese artist living in America, collaborate in poetically manifesting the artist's richly articulated dream-life. These eighty-odd poems embody an ever-opening cosmos of curious image, surprising narrative, and enigmatic teaching in a language no one could have dreamed up alone. Structurally intriguing poems reveal the innards of the dreams themselves, yet always speak directly and readably, sometimes addressed to a second person (the poet? the reader?). The poems and even reading itself seem to be dreaming. Poet and dreamer both live in New York's Hudson Valley.

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This extraordinary biographical novel is a faithful account of the heroic life of Dr. Max Gerson, originator of the most significant medically-based cure for cancer to emerge in modern times. Beginning in 1933, the novel details Gerson's flight from Nazi Germany and the subsequent struggles of Andrej Markhoff (an emigre Russian aristocrat and former patient) to write the doctor's story. Years later, Guliano Dego recovers Markoff's papers and is at once captured by the drama of Gerson's life. He travels to Mexico, to Gerson's clinic in exile, where he observes the method first-hand and uncovers new and shocking facts in the plot to suppress Gerson's work. In the novel's gripping denouement, the author finally discovers both the fate of Andrej Markoff and the forces behind international medical collusion.

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Faust Foutu (Faust Screwed) is a satire featuring a mid-20th-century Faust as a bourgeois artist "suffering" for his art. It was first performed by poets and painters in San Francisco in 1955. The book includes drawings by the poet made to accompany the printed text."In the early fifties the art of painting was at the cutting edge (Clyfford Still, Pollock, Rothko) -- it's not surprising that this "screwed" Faust is a painter or that a public reading and performance of the piece should have taken place at San Francisco's most intensely avant garde art gallery, the Six Gallery. It's no surprise either that the actors in the presentation, seated at a long table on a little dais, should be friends, actors, experimental film-makers, poets, painters, and playwrights. Poet Jack Spicer leaned towards the audience at moments with intensity and almost boyish innocence of expression and near harshness of diction. Larry Jordan, the film-maker, had been encouraged by Duncan to just sing loudly and naturally letting his untrained voice carry Faust's songs. Painter, and life-friend of Duncan's, Jess Collins, spoke his lines with immense clarity and irony. The play was being tested on the ear, there was no acting-out as Duncan did in his solo performances, this was to be heard—and, listen, it's still sounding." -Michael McClureRobert Duncan's "comic masque" Faust Foutu was first performed in 1955 and published in a small edition in 1960 with drawings by the poet, reproduced here in a trade edition.

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Over the course of his seventy years, Mikhail Horowitz reports being an English Romantic poet of the early 19th century, a Chinese hermit poet of the Tang Dynasty, a neo-Beat jazz poet of the Third Millennium, a proto-Surrealist and Oulipo poet of Paris between the wars, and a postmodern poet and spoken word performer in an increasingly medieval America. This volume offers a generous selection of his various avatars, featuring poems and prose pieces that are bracing, ludic, and often madly obsessive.

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“Words say too much to let you know the truth.’’ George Quasha’s torqued, enigmatic proverbs create unlikely balances among discrepant engagements. Waking from Myself is the sixth volume published of George Quasha’s “preverbs,” an invented poetic genre that’s the flipside of “proverbs”—instead of giving capsules of wisdom, they awaken language to its inevitable ambiguities in the face of complex truth-telling. The vectors of these marvelous poems work at cross purposes, keeping each other aloft. If William Blake’s “Proverbs of Hell” are poetry, then George Quasha’s preverbs are like a close cousin. Its core question is: can poetry say the unsayable?

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The Star-Spangled Banner spans the 15-year arc from 9/11 to 11/9, concluding with a poem based on voices overheard the night of Trump’s election by poet Michael Ruby, a journalist who has covered U.S. politics for decades. Ruby began the book in the aftermath of the 9/11 attacks, when he saw people freely using U.S. national symbols for their own political purposes. He decided to do the same thing for poetic purposes. Every poem in the book, which is dedicated to Jasper Johns and Jimi Hendrix, uses the 81 words of the national anthem and inserts words into the spaces between them. The poems have different vocabularies—sometimes surrealist like Ruby’s related book, American Songbook (2013), sometimes documentary and personal like his trilogy Memories, Dreams and Inner Voices (2012). The Star-Spangled Banner is an artistic encounter with one of America’s leading national symbols, using the frame of Francis Scott Key’s War of 1812 lyrics in unexpected ways, and an unusual verbal and emotional portrait of the time from 9/11 to 11/9.

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Debra Ollivier16.00Normal0falsefalsefalseEN-USX-NONEX-NONEParticularly focused on those in pain and in need of comfort and healing, and intended to touch and open the human heart, this book is a unique introduction to the Himalayan Wisdom Tradition. A Himalayan Siddha master is one who through a course of ascetic trainings has reached the highest truth, and Yogmata-Ji is one of only a few such masters alive today to transmit the Himalayan Wisdom to the world. As Yogmata-Ji writes, “I am here to guide you on a journey of transformation to expand your consciousness and help you reconnect to the sacred source.” This she does with compassion and wit and a continual refrain to her own experience. The lessons are wide ranging, touching on many facets of our self-ascribed limitations, which with patience and love she explores and explodes. The focused, incisive, and caring nature of 108 Teachings makes it a perfect work of daily meditations, the practice of which places the reader on a unique path of discovery and self-realization.

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Here the Siddha master Yogmata-Ji asserts that through the hermetic practices of the Himalayan Wisdom Tradition one may not just acquire true and lasting happiness and success in this life but ultimately dissolve into the very heart of love. She guides the reader through the eight stages of Samadhi, revealing the secrets of mind and body and of forms of Himalayan meditation that, evolved over five-thousand years of experimentation, are designed to remove all existential weights, allowing practitioners to become as radiant as the sun—the Anugraha ("divine grace"). Written in a clear and inspiring style, this practical guide includes a glossary of Himalayan Wisdom Tradition terms and an easy-access system of sub headings.

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FROM TRINITY TO TRINITY recounts the pilgrimage of Japanese atomic-bomb survivor Kyoko Hayashi to the Trinity Site in northern New Mexico, where the world's first atomic bomb test was conducted. Her journey takes her into unfamiliar terrain, both past and present, as she not only confronts American attitudes, disconcertingly detached from the suffering of nuclear destruction, but discovers as well a profound kinship with desert plants and animals, the bomb's first victims. Translator Eiko Otake, a renowned artist in dance (Eiko & Koma), offers further insight into Hayashi's life and work, illuminating how her identity as outsider helped shape her vision. Together author and translator present one woman's transformation from victim to witness, a portrait of endurance as a power of being against all odds.

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Osvaldo Romberg is an Argentine artist living in the United States who has, over the past five decades, produced a consistently goading body of work that tackles questions of analysis, interpretation, and representation of art and art history. His own history of translocation-between Argentina, Israel, Europe, and the United States-and his firm commitment to family and teaching are mirrored by an art practice that persistently plays with questions of life, sex, death, and the complexities of language and mythology.Osvaldo Romberg +/-70, Even assembles classic texts by Marcelin Pleynet, Jean- Michel Rabat

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Arcana Mundi is a stunningly reproduced collection of works on paper by a celebrated artist living in upstate New York. Sexually charged images of dream-like "power animals" reflecting human states absorb the viewer into participation in a world of magical hazard and psychic exploration. Jan Harrison writes that her work "is concerned with the paradox of the power of nature with regard to our own sense of order and justice. Through communion with animal nature, I link instinct and intellect, showing the duality of knowledge and innocence as two sides of the psyche of the world."

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This collection incorporates Franz Kamin's two main previous books—Ann Margret Loves You and Other Psychotopological Diversions (1980) and Scribble Death (1986)—plus his posthumous writing originally collected as Tales From The Theory of Angels. He links the scribbling of children, artists, and dreamers with the hopes and terrors of obsession and delirium. Through all of this one may almost detect a somber chuckling from the authorial domain.

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Starting in 1995 and for eight year Miriam Sanders wrote a weekly nature column for The Woodstock Journal , co-founded by the poet and musician Ed Sanders. With uncanny powers of direct observation, woven into a skein of luminous insights, she gives us a resonant field within which we may more than glimpse the web of creation. "Treasures" indeed, an enduring portrait of the natural world this book touches Catskills magic—bobcats, mallards and "Eric perched on a branch, enjoying a nut, his lovely tail curved over his back." The poet, writer, and historian Peter Lamborn Wilson writes, "Back in the Dark Ages when I lived in the Lower East Side I used to go to the Gem Spa on 8th Street every week to pick up Ed and Miriam Sanders's Woodstock newspaper, then take it to Tompkins Square and sit under a tree and read Miriam's nature column and dream that I was in the country with her birds and deer. Now at last her charming essays return—and I live in the Hudson Valley. Hurrah!" Woodland Treasures includes over twenty-five, hand-drawn illustrations from the author.

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In the World Enormous is a collection of poems engaged in transition, conversation and what falls between. They focus on a period that begins shortly before the death of Tomer Inbar's mother and ends after the birth of his twin daughters. In this, the poems constitute a way of thinking out of and about passing and starting again, taking things in their energy, rhythm and moment, including in words with their simultaneously infinite, immediate intimacy and enormity. They have a plangent, even restless, form, with Inbar tellingly indeterminate regarding the direction in which we read and connect and so being open to their engagement from bottom up or top down, moving this way and that, forward and back—though all in one piece. Thought as assemblage seems to sway to subtleties of moment as a momentum that defines a space and way to move through, as presence comes together to inscribe sense, experience or idea. Inbar writes, "These poems like their movement. I like how these poems move. Apart from the definitional, I find comfort in being present as things move. With sibilance. On their own volition. Taking the qualities of their construction along." More perhaps than this, these poems seem to compel us to think an impossible thought.

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This new translation of the Chinese classic and foundation text of Daoism integrates the manuscript discoveries of the last 30 years, introducing a fundamentally different view of the nature of the Dao. Michael Puett, the Walter C. Klein Professor of Chinese History and Chair of the Committee on the Study of Religion at Harvard University, calls this translation "an excellent translation of one of the most important texts from the Chinese philosophical tradition," and goes on to state: "Building upon the crucial body of scholarship that has developed in China over the past several decades, Yang Peng succeeds in providing a translation that is both precise and readable. A wonderful achievement!"

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Tausha is the true account of the brief life and profound teachings of a Russian mystic and healer during the 1980s, told by a disciple now living in the US. Presenting fascinating and original spiritual teachings, as bizarre as Castaneda’s tales of Don Juan, Tausha is suspenseful and intriguing. It offers insight into the famous “psychic discoveries behind the iron curtain” and the KGB’s nefarious involvement with paranormal phenomena. Its strange tale unfolds during the final decade of the Soviet regime, evoking the struggles of people seeking esoteric knowledge.

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Originally published in France in 1987, this is the first English translation of Leslie Kaplan's haunting novel about the meaning of childhood and the mysteriously intimate interworkings of child and adult....Here four adults and a child come together in a chance meeting in New York's Central Park, where the child's presence is a question to all of them. The novel pursues the erotic complexity of their various relationships with a special focus on the disturbing interaction between Julien and the child Nathalie. Woven through the affecting depictions of human characters, is the extraordinary depiction of the city, its tensions, its unexpected necessities, its urgencies. Written in a rhythm as electric as its setting, Brooklyn Bridge is a novel for the questioning child in us all.

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After 20 years of classroom experience with over 10,000 elementary school children, Cynde Gregory offers this comprehensive guide to the joys and skills of developing creative writing in children. Childmade provides the tools to stimulate children's subconscious imaginations and help them channel their visions into poems and stories. At the heart of the book is a unique meditation technique designed to fill young writers with detailed visions out of which writing will easily grow. Enlivened with charming examples of children's writing, the book speaks to parents, teachers, homeschoolers, and writers, featuring practical advice, serious literary discussion, and dozens of writing projects.

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Empathy, first published by Station Hill Press in 1989, marked a turning point in Mei-mei Berssenbrugge’s poetry, her lines lengthening across the page like so many horizons, tuned intimately to the natural world and its human relations, at once philosophical, lush, and rhythmic. As she writes in the new note for this edition, “I started to feel my way toward an intuited subliminal wholeness of composition.” In these poems, empathy not only becomes the space of one person inside another, but of one element (water, or fog), one place (tundra or desert mesa), one animal (the swan) as the locus of human illumination and desire.

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