Search results for ""Author Mark Doty""

Mark Doty’s poetry has long been celebrated for its risk and candour, an ability to find transcendent beauty even in the mundane and grievous, an unflinching eye that – as Philip Levine says – ‘looks away from nothing’. In the poems of Deep Lane the stakes are higher: there is more to lose than ever before, and there is more for us to gain. ‘Pure appetite,’ he writes ironically early in the collection, ‘I wouldn’t know anything about that.’ And the following poem answers: Down there the little star-nosed engine of desire at work all night, secretive: in the morninga new line running across the wet grass, near the surface, like a vein. Don’t you wish the road of excess led to the palace of wisdom, wouldn’t that be nice? Deep Lane is a book of descents: into the earth beneath the garden, into the dark substrata of a life. But these poems seek repair, finally, through the possibilities that sustain the speaker above ground: gardens and animals; the pleasure of seeing; the world tuned by the word. Time and again, an image of immolation and sacrifice is undercut by the fierce fortitude of nature: nature that is not just a solace but a potent antidote and cure. Ranging from agony to rapture, from great depths to hard-won heights, these are poems of grace and nobility.

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This is the first cloth edition of one of the most highly praised and touching collections of poems to appear in recent years. In selecting it for the National Poetry Series, Philip Levine said: "The courage of this book is that it looks away from nothing: the miracle is that wherever it looks it finds poetry. . . . Mark Doty is a maker of big, risky, fearless poems in which ordinary human experience becomes music."

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This work pairs Mark Doty's elegy to his friend, Lynda Hull, with visual details of Murano glass. The poem originally appeared in "Sweet Machine" published by Harper Flamingo in 1998. The Murano glass is from the Getty collection.

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Why do dogs speak so profoundly to our inner lives? When Mark Doty decides to adopt a dog as a companion for his dying partner, he finds himself bringing home Beau, a large golden retriever, malnourished and in need of loving care, to join Arden, the black retriever. As Beau bounds back to life, the two dogs become Mark Doty's companions, his solace, and eventually the very life force that keeps him from abandoning all hope during the darkest days - their tenacity, loyalty and love inspiring him when all else fails.

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Mark Doty has always felt haunted by Walt Whitman’s bold, new American voice, and by his equally radical claims about body and soul and what it means to be a self. In What Is the Grass, Doty – a poet, a lover of men, a New Yorker, and an American – keeps company with Whitman and his mutable, landmark work, Leaves of Grass, tracing the resonances between his own experience and the legendary poet’s life and work.What is it, then, between us? Whitman asks. Doty’s answer is to explore spaces tied to Whitman’s life and spaces where he finds the poet’s ghost, meditating on desire, love, and the mysterious wellsprings of the poet’s enduring work. How does a voice survive death? What Is the Grass is a conversation across time and space, a study of the astonishment one poet finds in the accomplishment of another, and an attempt to grasp Whitman’s deeply hopeful vision of humanity.

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Commemorating a crisis: the first monograph on Eric Rhein, poetical chronicler of the AIDS epidemic in photos, drawings and assemblages This is the first book on the work of American artist Eric Rhein (born 1961), whose career has spanned four decades. This unique monograph-memoir features intimate photographs, taken between 1989 and 2012. The self-portraits and images of friends and lovers correspond to the period spanning Rhein’s HIV diagnosis, his subsequent near death and his experience of a renewed sense of vitality. New York Times critic Holland Cotter wrote of Rhein’s work: “the combination of art and craft, delicacy and resiliency, feminine and masculine, is exquisitely wrought and is, as it should be, seductive but disturbing.” As a personal response to the AIDS crisis, Rhein’s compelling portraits highlight tenderness and care as life-saving instincts. Included are related bodies of work: delicate assemblages and wire drawings, often serving as memorials for fallen friends. Rhein's photography, wire drawings, sculpture and watercolors honor love, touch, connection to nature, and familial history. Rhein mines collective and personal narratives, formulating pieces that are at once poetic and documentarian. Mark Doty and Paul Michael Brown contribute essays.

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