Search results for ""Author Dana Gioia""

Dana Gioia has been hailed for decades as a master of traditional lyric forms, whose expansive and accessible poems are offerings of rare poignancy and insight. In Meet Me at the Lighthouse, he invites us back to old Los Angeles, where the shabby nightclub of the title beckons us into its noirish immortality. Elsewhere, he laments the once-vibrant neighborhood where he grew up, now bulldozed, and recalls his working-class family of immigrants. Gioia describes a haunting from his mother on his birthday, Christmas Eve. Another poem remembers his uncle, a US Merchant Marine. And "The Ballad of Jesús Ortiz" tells the story of his great-grandfather, a Mexican vaquero who was shot dead at a tavern in Wyoming during a dispute over a bar tab. "I praise my ancestors, the unkillable poor," Gioia writes. This book is dedicated to their memory. Including poems, song lyrics, translations, and concluding with an unsettling train ride to the underworld, Meet Me at the Lighthouse is a luminous exploration of nostalgia, mortality, and what makes a life worth living and remembering.

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In 1991, Dana Gioia''s provocative essay Can Poetry Matter? was published in the Atlantic Monthly, and received more public response than any other piece in the magazine''s history. In his book, Gioia more fully addressed the question: Is there a place for poetry to be part of modern American mainstream culture? Ten years later, the debate is as lively and heated as ever. Graywolf is pleased to re-issue this highly acclaimed collection in a handsome new edition, which includes a new Introduction by distinguished critic and poet, Dana Gioia.

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The 2018 edition of the Best American Poetry—“a ‘best’ anthology that really lives up to its title” (Chicago Tribune)—collects the most significant poems of the year, chosen by Poet Laureate of California Dana Gioia.The guest editor for 2018, Dana Gioia, has an unconventional poetic background. Gioia has published five volumes of poetry, served as the Chairman of the National Endowment for the Arts, and currently sits as the Poet Laureate of California, but he is also a graduate of Stanford Business School and was once a Vice President at General Foods. He has studied opera and is a published librettist, in addition to his prolific work in critical essay writing and editing literary anthologies. Having lived several lives, Gioia brings an insightful, varied, eclectic eye to this year’s Best American Poetry. With his classic essay “Can Poetry Matter?”, originally run in The Atlantic in 1991, Gioia considered whether there is a place for poetry to be a part of modern American mainstream culture. Decades later, the debate continues, but Best American Poetry 2018 stands as evidence that poetry is very much present, relevant, and finding new readers.

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This new and necessary book—a collection of author profiles, literary journalism and speculative pieces about the Southland's writing and publishing scene—aims to capture the Southern California of here and now. We want to get at the Los Angeles that came after the gumshoes, the wisecracking Englishmen, after the Boosters, the Beats, and the boozers, after the despairing heroines of Joan Didion and the coked-up rich kids of Bret Easton Ellis.

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The 2018 edition of the Best American Poetry—“a ‘best’ anthology that really lives up to its title” (Chicago Tribune)—collects the most significant poems of the year, chosen by Poet Laureate of California Dana Gioia.The guest editor for 2018, Dana Gioia, has an unconventional poetic background. Gioia has published five volumes of poetry, served as the Chairman of the National Endowment for the Arts, and currently sits as the Poet Laureate of California, but he is also a graduate of Stanford Business School and was once a Vice President at General Foods. He has studied opera and is a published librettist, in addition to his prolific work in critical essay writing and editing literary anthologies. Having lived several lives, Gioia brings an insightful, varied, eclectic eye to this year’s Best American Poetry. With his classic essay “Can Poetry Matter?”, originally run in The Atlantic in 1991, Gioia considered whether there is a place for poetry to be a part of modern American mainstream culture. Decades later, the debate continues, but Best American Poetry 2018 stands as evidence that poetry is very much present, relevant, and finding new readers.

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By the age of thirty, Weldon Kees (1914–55) was a poet, journalist, musician, painter, photographer, and short story writer living in New York City. Despite a contract for a forthcoming novel, however, he stopped writing fiction, moved to San Francisco, and worked as an artist and filmmaker. On July 18, 1955, his car was found on the Golden Gate Bridge, and he has not been seen since. These stories by Kees, predominantly set in Depression-era mid-America, feature bleak, realistic settings and characters resigned to their meager lives. The owner of an auto parts store occasionally "sells" his sister Betty Lou to interested patrons; a cryptic message in library books indicates the yearnings of a silenced patron; a young woman taking tickets at the Roseland Gardens futilely dreams of escape from the future she sees for herself; and an old man carefully saves his money to fulfill the requirements of a chain letter only to be disappointed by a spiteful daughter-in-law. Many of these stories are set in the Nebraska of Kees's youth, and they are written from a Midwestern sensibility: keenly observant, darkly humorous, and absurdly fantastic.In this new edition, Dana Gioia has added three stories to the fourteen gathered in the first edition, The Ceremony and Other Stories. The New York Times named that first edition, published in 1984, a notable book of the year.

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Candy Is dandy But liquor Is quicker. These inimitable lines could only have been written by Ogden Nash, the American nonpareil of light verse and one of the most remarkable figures in American letters. His keen grasp of human nature and a unique style of verse made him, in the mid-twentieth century, the most widely read and frequently quoted poet of his time. For years, readers have longed for a biography to match Nash's charm, wit, and good nature; now we have it in Douglas Parker's absorbing and delightful life of the poet. My garden will never make me famous, I'm a horticultural ignoramus, I can't tell a stringbean from a soybean, Or even a girl bean from a boy bean. Ogden Nash grew up in Savannah, Georgia, went to prep school in Newport, Rhode Island, dropped out of Harvard after his freshman year, and soon after started work as an editor with Doubleday. When he began publishing humorous poems in the New Yorker, and later when he worked at the magazine, he became part of the literary circle that included E. B. and Katharine White, Dorothy Parker, Harold Ross, and S. J. Perelman. He went on to publish more than two dozen books of verse as well as screenplays, lyrics and scripts for the theater, children's stories, and essays. Douglas Parker, who has had exclusive access to family letters and diaries, and permission to quote liberally from them and from Nash's poems, has written a warm and inviting biography of the poet who reveled in pure whimsy and wordplay, but who was applauded by his more serious contemporaries. With 12 black-and-white photographs.

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Known to his contemporaries primarily as an art critic, but ambitious to secure a more lasting literary legacy, Parisian bohemian Charles Baudelaire, spent much of the 1840s composing gritty, often perverse, poems that expressed his disgust with the banality of modern city life. First published in 1857, the book that collected these poems together, Les Fleurs du mal, was an instant sensation—earning Baudelaire plaudits and, simultaneously, disrepute. Only a year after Gustave Flaubert had endured his own public trial for published indecency (for Madame Bovary), a French court declared Les Fleurs du mal an offense against public morals and six poems within it were immediately suppressed (a ruling that would not be reversed until 1949, nearly a century after Baudelaire’s untimely death). Subsequent editions expanded on the original, including new poems that have since been recognised as Baudelaire’s masterpieces, producing a body of work that stands as the most consequential, controversial and influential book of poetry from the nineteenth century. Acclaimed translator and poet Aaron Poochigian tackles this revolutionary text with an ear attuned to Baudelaire’s lyrical innovations—rendering them in “an assertive blend of full and slant rhymes and fluent iambs” (A.E. Stallings)—and an intuitive feel for the work’s dark and brooding mood. Poochigian’s version captures the incantatory, almost magical, effect of the original—reanimating for today’s reader Baudelaire’s “unfailing vision” that “trumpeted the space and light of the future” (Patti Smith). An introduction by Dana Gioia offers a probing reassessment of the supreme artistry of Baudelaire’s masterpiece, and an afterword by Daniel Handler explores its continued relevance and appeal. Featuring the poems in English and French, this deluxe dual-language edition allows readers to commune both with the original poems and with these electric, revelatory translations.

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Known to his contemporaries primarily as an art critic, but ambitious to secure a more lasting literary legacy, Charles Baudelaire, a Parisian bohemian, spent much of the 1840s composing gritty, often perverse, poems that expressed his disgust with the banality of modern city life. First published in 1857, the book that collected these poems together, Les Fleurs du mal, was an instant sensation—earning Baudelaire plaudits and, simultaneously, disrepute. Only a year after Gustave Flaubert had endured his own public trial for published indecency (for Madame Bovary), a French court declared Les Fleurs du mal an offense against public morals and six poems within it were immediately suppressed (a ruling that would not be reversed until 1949, nearly a century after Baudelaire’s untimely death). Subsequent editions expanded on the original, including new poems that have since been recognized as Baudelaire’s masterpieces, producing a body of work that stands as the most consequential, controversial and influential book of poetry from the nineteenth century. Acclaimed translator and poet Aaron Poochigian tackles this revolutionary text with an ear attuned to Baudelaire’s lyrical innovations—rendering them in “an assertive blend of full and slant rhymes and fluent iambs” (A. E. Stallings)—and an intuitive feel for the work’s dark and brooding mood. Poochigian’s version captures the incantatory, almost magical, effect of the original—reanimating for today’s reader Baudelaire’s “unfailing vision” that “trumpeted the space and light of the future” (Patti Smith). An introduction by Dana Gioia offers a probing reassessment of the supreme artistry of Baudelaire’s masterpiece, and an afterword by Daniel Handler explores its continued relevance and appeal. Featuring the poems in English and French, this deluxe dual-language edition allows readers to commune both with the original poems and with these electric, revelatory translations.

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How did a Catholic priest who died a failure become one of the world’s greatest poets? Discover in his own words the struggle for faith that gave birth to some of the best spiritual poetry of all time. Gerard Manley Hopkins deserves his place among the greatest poets in the English language. He ranks seventh among the most frequently reprinted English-language poets, surpassed only by Shakespeare, Donne, Blake, Dickinson, Yeats, and Wordsworth. Yet when the English Jesuit priest died of typhoid fever at age forty-four, he considered his life a failure. He never would have suspected that his poems, which would not be published for another twenty-nine years, would eventually change the course of modern poetry and influence such poets as W. H. Auden, Dylan Thomas, Robert Lowell, John Berryman, Geoffrey Hill, and Seamus Heaney. Like his contemporaries Walt Whitman and Emily Dickinson, Hopkins revolutionized poetic language. And yet we love Hopkins not only for his literary genius but for the hard-won faith that finds expression in his verse. Who else has captured the thunderous voice of God and the grandeur of his creation on the written page as Hopkins has? Seamlessly weaving together selections from Hopkins’s poems, letters, journals, and sermons, Peggy Ellsberg lets the poet tell the story of a life-long struggle with faith that gave birth to some of the best poetry of all time. Even readers who spurn religious language will find in Hopkins a refreshing, liberating way to see God’s hand at work in the world.

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