Search results for ""Zephyr Press""

The poet travels from her home in the United States to her ancestral village in Shanxi province to bury the ashes of her paternal grandparents in a ritual lasting several days. The narrative arc of the story movingly explores death and life, a multi-branched and multi-generational clan, and ancient and modern belief systems, as it moves toward a tragic climax. First Mountain is bilingual on facing pages, and Zhang Er's third book to be published by Zephyr Press.

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"The Burden of Being Burmese displays an extraordinary fertile and febrile imagination—one that will both delight and disturb American readers."—Marjorie Perloff "A brilliantly off-kilter book."—John Ashbery Ko Ko Thett writes that he is "a poet by choice and a Burmese by chance." The poems in this collection—the first major volume in English by a contemporary Burmese poet—range from "faddish sugar crystals," written in Burmese for his 1996 illegal campus chapbook in Yangon, to his autumn 2014 "anxiety attack" in the Netherlands, where he now lives. Thett is the co-editor and translator of the seminal volume Bones Will Crow: 15 Contemporary Burmese Poets.

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Ko ko thett’s poems — described by John Ashbery as “brilliantly off-kilter” — bring oddball lists, linguistic inventiveness, and sardonic humor to the brutal contradictions of life and history in and outside of his native Burma. In some poems he muses on chairs or metaphors or potatoes, while elsewhere, and often with the same, dispassionate tone, he turns his gaze on a strangulating bureaucracy or the horrific treatment of prisoners. Thett writes in Burmese and in English. In this second volume to appear in English, most are English originals but thirteen will be presented bilingually on facing pages.

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A seminal work from the second wave of Chinese modernism. So great is Ya Hsien's influence on younger generations of Taiwanese and Chinese writers that he is sometimes referred to simply as "The Poet." Yet he never wrote a second book after Abyss appeared in an expanded edition in 1971. This single book's variety and virtuosity have made it a modern classic and the poet something of a legend. A new documentary, "Ya Hsien: A Life that Sings," was nominated for Best Documentary at the 2015 Taipei Film Festival. Under the Barber Pole The barbers sing Always it's the same wheat-harvest festival Always an abundance of rye without ears Always it is reaped, reaped On the land of inspiration A small southern path leads to ears of grain And it's also a kind of horticultural school A kind of beauty A kind of agricultural reform A kind of taste for something other than Greek sculpture The barbers sing Ya Hsien's poetry runs the gamut from realism to surrealism, incorporating elements of folksong and modernist poetics, expressing a wide emotional range, and deftly capturing the critical spirit of the times. The sixty poems are divided into seven sections that present differing styles and themes, including "Wartime," "Songs without Music", and "Wild Water Chestnuts." The pen name Ya Hsien (his given name is Wang Ching-Lin) means "mute string." Ya Hsien lives in Vancouver, British Columbia. Award-winning translator John Balcom lives in Monterey, California.

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This delightfully illustrated reader is one of a series that uses the revolutionary educational theory of multiple intelligences to address such issues as dealing with bullies, listening, and boredom, as well as common academic stumbling blocks such as multiplication, reading comprehension, and spelling. Young readers will travel down Intelligence Avenue guided by Brilliant Brain and Magnificent Mind, in search of tools to help them grasp these difficult social and learning skills. Along the way, they will encounter the Smart Parts: Music Smart, Picture Smart, Body Smart, Number Smart, Self-Smart, Nature Smart, World Smart, and People Smart--personifications of the eight known multiple intelligences--who provide nuggets of knowledge to help overcome the problem at hand. An original rhyme at the beginning of each story introduces children to the coming adventure; teacher/parent guide provides lesson plans in tandem with each book.

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"Subtle and compelling, Bai Hua is among the best in contemporary Chinese poetry."—David Der-wei Wang, Harvard University "Fish" Unfathomable, the fish can't sing swimming from silence to silence It needs things, it needs to speak but it stares blindly at a stone The strength of endurance is too precise Senility urges it to walk the road of kindness What is it? Image of a people or an act of soundless immersion? The face of grievance veers toward shadow the silence of death toward error Born as metaphor to clarify a fact: the throat where ambiguous pain begins Considered the central literary figure of the post-Obscure (post-"Misty") poetry movement during the 1980s, Bai Hua was born in Chongqing, China, in 1956. After graduating from Guangzhou Foreign Language Institute, he taught at various universities before working as an independent writer. His first collection of poems, Expression (1988), found immediate critical acclaim. A highly demanding writer, Bai Hua has a small but selective poetic output: between the mid-'80s and 2007 Bai Hua wrote fewer than one hundred poems, most of which continue to command a large audience across China. After a silence of more than a decade, he began writing again in 2007. This bilingual selection is a comprehensive overview of Bai Hua's writing career. Fiona Sze-Lorrain writes and translates in French, English, and Chinese. Her recent work includes Water the Moon (Marick Press, 2010). Co-director of Vif Éditions and one of the editors at Cerise Press, she is also a zheng concertist.

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First book in English translation since 2005 for celebrated Russian poet Translator, Wachtel, is one of the most well-known and respected Russian translators and academics working today Over the past few years Polonskaya has taken part in a number of writers' residency programs in the U.S., which means that we will not be starting from square one with name recognition, and we will be able to use those previous contacts to advertise this title

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In a 1989 interview, Han Dong declared that he wrote poetry for nobody, not even himself. He likens the poet to a roofer: "I write poetry for the constitution of poetry, just as a roofer gives no thought to who lives in the house whose roof he is covering—he builds to meet the criteria of what a house is. Poetry is not subordinate to purposes beyond itself: its highest purpose is to be without purpose." So–and–so's come to a sad end . . ." In the gloom, he smiles gently, lovingly As if to say I can rely on him in this world of nothingness "But the thing is, we could never be sure . . ." "We probably should" and "Possibly". . . Earnest words like the thread in a foster mother's hand As she darns a monk's ragged robe That's a story that can't be darned "Poor man!"—The thread is knotted But the knot in my heart tries to pass through the needle's eye The tree leaves at dusk have an oily gleam Han Dong was born in 1961 in Nanjing, where he continues to work as a full-time writer. He is also a respected novelist—his first, published in translation as Banished! by University of Hawai'i Press, was longlisted for the Man Asian Literary Prize 2008. Nicky Harman lives in the United Kingdom. Besides translation work, Harman is active on the Chinese translated fiction website Paper Republic and in literary translation organizations in the United Kingdom.

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Flash Cards is a primer of modern Chinese life, constructing a complex philosophical vision from swatches of daily events and observations. As Yu Jian has written about his own work: “It is possible to see eternity—to see everything—in a teacup or a sweet wrapper. Everything in the world is poetry.” An eighteen-year-old college girl walks to class on a spring morning rosy cheeks long legs inside a wool skirt only a small wild part revealed beautiful girl chest held high a cup of tea between her hands a book beneath her elbow crossing the flower garden looking straight ahead she is rushing to catch a philosophy class Yu Jian, born in 1954 in Kunming, China, is a poet, author, and documentary film director. He began writing poetry in the early 1970s, influenced both by classical Chinese poetry and modern Western writers such as Walt Whitman. Yu Jian is a major figure among the "Third Generation Poets” who came after the “Misty Poetry” movement of the early 1980s. Wang Ping’s books include two collections of poetry, The Magic Whip and Of Flesh & Spirit, and the cultural study Aching for Beauty: Footbinding in China. Her novel The Last Communist Virgin was winner of the 2008 Minnesota Book Award in the category of Novel & Short Story and the 2007 Book Award from the Association for Asian American Studies in the category of Poetry/Prose. Ron Padgett’s translations include Blaise Cendrars' Complete Poems, Guillaume Apollinaire's Poet Assassinated, and, with Bill Zavatsky, Valery Larbaud's Poems of A. O. Barnabooth. A chancellor of the Academy of American Poets, Padgett was named officer in the Order of Arts and Letters by the French government. In 2009 he received the Shelley Memorial Award from the Poetry Society of America.

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Only anthology of its kind. Earlier anthologies of Polish poetry focused on classical, post-communist, and women's writing in the 80s. Bilingual collection of the “younger lions” of Polish poetry

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Twelve years ago, a guy named Bush was president, the country was in the midst of turmoil in the Middle East, and, although the president enjoyed unprecedented support, seeds of opposition were beginning to spread. Some things are slow to change. Meanwhile, Boston was experiencing a harsh recession and Jamaica Plain (one of Boston’s southern neighborhoods) became a low-rent mecca for aspiring artists, musicians, and writers. A blend of inspiration, naiveté, technology, and vision led a handful of these artists to found compost magazine. Their mission was to facilitate a better understanding of the world’s people through art and literature by re-internationalizing poetry in the United States, by showcasing emerging and established artists in the Boston area and across the continent. Early issues featured translations from Russian, Bengali, and Bulgarian; sketches and artwork by inter-national and Boston-area artists; and poetry and interviews with Robert Pinsky, KRS-ONE, and Rosanna Warren. Each issue contained a feature on the poetry of a culture other than mass culture USA, a section called "Hear America Singing" that featured established and emerging writers from the U.S., and a section that presented Boston-area artists and writers. Much of the inspiration for compost’s international slant came from the publisher James Laughlin and the translator Kenneth Rexroth. Laughlin was one of compost’s earliest enthusiasts, as well as their most frequent contributor; and the magazine created a Memorial Translation Prize to honor Kenneth Rexroth. Greatest Hits contains a range of work from compost’s twelve-year run, an overview of the magazine’s conception and history from two of its editors, and a preface by Rosanna Warren. Kevin Gallagher and Margaret Bezucha are two of the founding editors of compost magazine.

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Shcherbina emerged in the early 1980s as the spokesperson for the new, independent Moscow culture. Her work was first published in the official press of the Soviet Union in 1986, and five volumes of her poetry were published in samizdat prior to 1990. Her poetry is now widely published in both established and experimental journals at home and abroad, and has been translated into Dutch, German, French, and English. Shcherbina’s poetry blends the personal with the political, and the source for her material is pulled from classical literature, as well as French and German cultural influences. "Still-Life" Zing—Boom—Snap: drop here and there drop the seed senses the ground like a greedy trap. Whether it needs to fall, it needs to stay put as the uttermost prophetic white grasslet in the air and kafka, with golden inks a crazy engraver writes: "The seed succeeded, conceived immaculate." The seed Zing—Snap—Boom: sets out at random either toward this mother or that mother or swimming orphaned toward a leeside cutter: hurrah, an oasis! hurrah, an oasis! And all of it a mess! Snap—Boom—Zing: my mother's a sun descended from yellow melons, father a boomerang of moons a lunar elk, between them a euclidean parallel: il mirroring il, elle mirroring elle.The seed, mothlike, like trout knocks knocks against the lantern's light locked behind a glass door… Still-life: pitch dark on market day. Tatiana Shcherbina Shcherbina was awarded a Bourse de Création from the French Ministry of Culture. After living abroad for several years in the early 1990s, she returned to Moscow, where she has served as editor-in-chief of the cultural journal Estet (Aesthete) since 1995.

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1. Seminal collection of Russian contemporary poetry (in bilingual format). 2. More than 2500 paper and 500 cloth copies sold since initial publication in March of 99. 3. Received outstanding reviews from “Choice”, “Harvard Review”, and others

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Three celebrated poets illuminate the complexity of life in Haiti and its diaspora in the 21st century, particularly for women, in this exceptional and unprecedented trilingual collection. In Évelyne Trouillot’s sensual poems about love and yearning, she asks repeatedly “in what language should I speak to you”? Marie-Célie Agnant addresses poverty, pain, death, but also the pleasures of passion. Maggy De Coster’s concise and personal poems explore the world — its nature, light, wind — and, sometimes, political themes. Together, these poems navigate between an impulse to “capture gently these moments of light” (De Coster) and the very different insistence that we see how “pain sits at ground level / at times charging like a beast” (Agnant). The original poems in French and Haitian Kreyòl appear facing the English translations by Danielle LeGros Georges. Agnant is the 2023 Cana

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Considered a representative figure of the post-1970s Chinese poets, Yu Xiang is part of a new generation of contemporary Chinese poets following in the footsteps of the "Obscure" (otherwise known as "Misty") poets and the post-"Obscure" writers. If identification is indeed a shadow act of figuration, Yu Xiang does not care for any post-age or post-modern label. Her response toward specific social or political realities in China during these recent years differ from her predecessors' during their respective epochs, in the sense that she does not necessarily depict them from an oblique stance. She does not merely dwell in ambiguities, contradictions and ambivalence. Nor does she present her work as a purely journalistic understanding of the downtrodden: impoverished villagers, traumatized mothers who lost children during the collapse of "tofu-skin" schools during the 2008 Sichuan earthquake. Instead, she depicts characters with a comparative eye—not just as a witness—but also from the starting point of having "felt a feeling," an epiphany. Unafraid of going near politically radioactive realities and histories, Yu Xiang is least interested in scoring ideological points, or telling "her" side of a narrative, be it as an artist or a social critic. At first read, each of Yu Xiang's poems comes across as an intimate address with a personal touch. Through poetry, she seeks a specific reader and listener, while being a reader and listener herself. She is interested in peeling silence with verses. Fiona Sze-Lorrain writes and translates in French, English, and Chinese. Her recent translation work includes Wind Says (Zephyr Press)—collected poems of Bai Hua. "Yu Xiang’s poems are the poetic equivalent of shoegazer rock. She takes the mundane—a whiff of cigarette smoke, a falling leaf, a housefly—and stares at it so intently that it splits open to reveal something unexpected." — Naomi Long Eagleson, wordswithoutborders.org

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One of most acclaimed Beijing poets of his generation Honored three times as one of China’s top ten poets The Guardian published a major article on Zang Di and one of his poems: https://www.theguardian.com/books/booksblog/2009/may/18/poem-of-the-week-zeng-di Eleanor Goodman’s translation of Something Crosses My Mind, by Chinese poet Wang Xiaoni, won the 2015 Lucien Stryk Asian Literature Prize and was short-listed for the 2015 Griffin International Poetry Prize Several poems appeared in July 2016 issue of Harvard Review Bilingual on facing pages, with introduction and notes to the poems

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A rising star in Polish letters explores faith, eros, death and the making of poems in these deft, personal musings. Hailed in Poland as "the hope of Polish poetry" and the inheritor of its metaphysical tradition, Dabrowski offers these "posts" from city streets and trains, his bedroom and Skype, a hospital and his own notebook, employing colloquial language to confront weighty subjects: "And right here /poetry appears, and forces a stag to bolt / in front of the hood of your car." Tadeusz Dabrowski is the author of six books and recipient of numerous awards, and his work has been translated into 20 languages. Antonia Lloyd-Jones's brilliant translations have twice won her the Found in Translation Award.

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Paper-thin Skin is the debut collection by Aigerim Tazhi, who has broken ground as a Kazakhstani woman poet by gaining attention both in Russia and internationally. Fish, insects, birds, the sea, the sky, humans seeking connection, and death figure frequently in these succinct poems, as do windows, mirrors, and eyes: these are poems of observation and deep reflection. Tazhi gently insists that we look at words and the world “in the eye,” as she seeks to create what translator J. Kates calls a “mystic community of communication.”

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First English-language collection of award winning Misty poet Authoritative selection of work from the last 20 years Work included in the recent anthologies Push Open the Door (Copper Canyon Press, 2011) and Twentieth Century Chinese Women’s Poetry (M.E. Sharpe, 2009) Next title in the seminal Jintian series

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Komelj’s work was first suggested to the translators by Tomaž Šalamun--who is one of only two or three Slovenian poets known on the international stage--with a particularly strong following in English translation across the U.S. Šalamun is historically reticent to heap praise, but in Komelj he sees the future of Slovene and contemporary world poetry. Despite the natural divides between English and Slovene, throughout the work there are echoes of a familiar American modernism in Komelj’s polyglot, esoteric references, and in his sense of himself as embedded in an international tradition. William Carlos Williams is perhaps the best American modernist comparison because, like Williams, Komelj is a bit of a chimera: his book includes imagistic lyrics, pastiches of quotes, persona poems, political polemics, and a reasonably faithful translation of Seneca. He references Futurist operas, NATO military action, personal friends, and literary and artistic heroes. His view is wide and deep, but throughout this book, and despite all these shifts in attention and approach, he builds a stable, unique vision.

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This collection of ideas and lesson plans will help classroom and homeschool teachers integrate art into their general curriculum. These inventive and effective methods use the visual arts to inspire creative writing and drama; explore math, music, science, and history; and cultivate critical thinking skills. Art instructors will learn strategies for incorporating other areas of study into the art classroom. Ranging from thought-provoking suggestions to concrete, hands-on lesson plans, these activities include an extensive resource list for classroom teachers without an art background.

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Bring a leading authority on brain development into your professional development program. Explore the impact of electronic media on how and what the brain learns and remembers. You'll learn about the negative and positive effects electronic media have on memory and response systems, and explore how children develop the neural networks to explore and process the information-packed cyberworld, how we can balance children's need to master computer skills with the moral dangers that lurk n cyberspace, and how we can deal with the elements of violence and sexuality in electronic media such as TV, video games, and the Internet.

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"Although the past is a constant theme in Rózycki's work, the present erupts with no less urgency . . . he witnesses the ant-like unimportance of human beings viewed from a cosmic perspective."—Helen Vendler, Harvard University The hero of the mock poem, Grandson, leaves his hometown of Opole, in the western Polish region of Silesia, to organize a family reunion in the Ukraine where his family had lived before World War II—before being forcibly resettled along with many thousands of other Poles. In this, his sixth book, Tomasz Rózycki talks back, both to history and to important literary predecessors such as Czeslaw Milosz and Adam Mickiewicz, in language that is as playful as it is masterful. Twelve Stations is a masterful work of contemporary world poetry by one of its most outstanding practitioners. In 2004 Twelve Stations won the prestigious Koscielski Foundation Prize and was named best Book of the Spring 2004 by the Raczynski Library in Poznan and its translator Bill Johnston received the 2008 Found in Translation Award. Tomasz Rózycki also has received the Krzysztof Kamiel Baczynski Prize (1997), the Czas Kultury Prize (1997), The Rainer Maria Rilke Award (1998), and the Joseph Brodskie Prize from Zeszyty Literackie (2006), and has been nominated twice for Poland's most prestigious literary award, the NIKE Prize (2005 and 2007).

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Ouyang Jianghe belongs to the "third generation" of twentieth-century Chinese literature and the so-called "five masters from Sichuan"—poets who consciously distance themselves from the "Misty" (obscure) poets such as Bei Dao and Yang Lian. His writing advocates an intellectual model that is based on reflection and the expression of mature recognition rather than inspiration, sudden impulse, or spontaneous illumination, and is concerned with everyday themes, the insignificant, and the private. From "Handgun": you can take a- part a handgun, break it in two, into a hand a gun paint the hand black, you've got a faction— put the gun on a boat: that's a means of persuasion you can take apart a faction into further partitions parties ambitions you can break it into act, or action— the world divides in infinite fissions one eye you aim at love; the other you ram into the barrel of a gun the bullets ogle you level your nose at your enemies' Critics consider Ouyang Jianghe's poetry some of the most challenging avant-garde verse written in China over the past few decades. His poems, which have the intricate, sculpted quality of fugues, are concerned with dissecting the layers of meaning that underlie everyday objects and notions like "doubled shadows." He is a prominent art critic and chief editor of the literary magazine Jintian; he lives in Beijing. Austin Woerner graduated from Yale University in East Asian studies. In September 2009 he took part in a joint residency with Ouyang Jianghe at the Vermont Studio Center, where they were the first writer-translator pair in the literature in translation program. He lives in Brooklyn, New York.

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Companion volume to Zephyr's '03 Ursu collection Goldsmith Market and her third third book to appear in English (along with the two anthologies: The Sky behind the Forest [Bloodaxe] and Angel Riding a Beast [Northwestern UP]).

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"Fireworks and Working Girls" Fireworks and working girls They’ve danced with abandon Descending into loneliness in the end Confucian moralists wouldn’t agree: These explosions in the heavens are a natural thing We watch as we please reflect as we please All has been illuminated corners once overlooked If my will could ascend to the sky I’d want to go to pieces too In the quest for love I’d dance a proud dance Anyone might surrender to lust beneath the moon Even the moon adores its own ecstasy If it were able It would light its own fuse Every flowery bone of its body Scattered to the winds The author of six volumes of poetry, Yongming Zhai first became prominent in the mid-1980s with the publication of her twenty-poem cycle, Woman, a work that forcefully articulated a female point-of-view in China's largely patriarchal society. Her powerful imagery and forthright voice resonated with many readers. Zhai has continued to hone her critique of traditional attitudes toward women, quickly becoming one of China's foremost feminist voices and a major force in the contemporary literary scene. She is also an installation artist and prolific essayist, and stages poetry readings and other cultural events at the bar she owns in her native Chengdu. Andrea Lingenfelter received her MA from Yale University. She is also the translator of the novels Candy (Back Bay Books, 2003), Farewell to My Concubine (W. Morrow, 1993), and The Last Princess of Manchuria (W. Morrow, 1992). She currently lives in Seattle.

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--While stationed in southern Taiwan in 1954, Lo Fu co-founded the Epoch Poetry Society with Zhang Mo and Ya Xian and served as editor of the association’s Epoch Poetry Quarterly for more than a decade. --Lo Fu has been a controversial figure in many literary debates that shaped the evolution of modern Chinese poetry. His poetry has been immensely influential in Taiwan and China. --He is the author of thirteen volumes of poetry; an equal, if not larger, number of personal anthologies and reprints published in Taiwan, Hong Kong, and mainland China; five collections of essays; five volumes of literary criticism; and four book-length translations.

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Jack has long been the proverbial author's author, with past work collected in Sven Birkerts' The Longwood Introduction to Fiction," Ploughshares, The Iowa Review, Agni, Tikkun, and The New England Review.

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Traces of Rilke are unearthed in Lo Fu’s long poem sequence, Driftwood, along with his affection for surrealism and the early modernists such as Baudelaire, Rimbaud, Apollinaire and the more contemporary verse of Wallace Stevens. On New Year’s Day 2001, the poem appeared in the literary supplement to the Liberty Times in Taiwan and was serialized for three months straight. Lo Fu has won almost every literary award in Taiwan and has published more than three dozen volumes of poetry, essays, criticism and translations. Despite his prolific output, Lo Fu considers Driftwood to be the book that sums up his experience of exile, his artistic explorations and his metaphysics; Driftwood is a personal epic and the greatest achievement of his old age. Lo Fu is the pen name of Mo Luofu, who was born in Hengyang, Hunan Province, in 1928. He joined the military during the Sino-Japanese War (1937-1945) and moved to Taiwan in 1949. While stationed in southern Taiwan in 1954, he founded the Epoch Poetry Society with Zhang Mo and Ya Xian, serving as the editor of the Epoch Poetry Quarterly for more than a decade. He immigrated to Vancouver in 1996, where he still lives. John Balcom has published more than a dozen books into English from Chinese. He is associate professor and Chinese program head at the Monterey Institute. Balcom previously collaborated with Lo Fu on the translation of his book of poetry Death of a Stone Cell (Taoran Press).

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Duo Duo is the same generation as Bei Dao, and was likewise heavily involved in restarting the anthology of Chinese literature, “Today.” Duo Duo is the proverbial “poets’ poet,” and a major collection of his work has not previously appeared due to the complexity of his verse. This book was originally accepted by the University of California Press, but the editor who accepted the MS departed, and Eliot Weinberger helped me to extricate it from their vaults. ND had originally hoped to do a book of Duo Duo’s, but after Laughlin’s death, less enthusiasm existed for new Chinese literature in the ND line.

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"Nominated several times for the Nobel Prize for Literature, winner of a number of international literary prizes, and translated into over twenty languages, Gennady Aygi is regarded as one of the most important Russian poets of the second half of the 20th century. He is a poet of the country and stands totally against the classical tradition of Russian poetry from Pushkin to Brodsky."—Poetry London Newsletter "Gennady Aygi is considered to be a major and original voice in contemporary poetry. Aygi’s poetry is a curious hybrid, influenced by Russian Symbolism and Futurism, European Modernism, and his Chuvash culture with its ancient pagan religion."—Journal of European Studies "Peter France’s scrupulous versions are faithful not simply to the often ambiguous sense of the originals, but also to the typographical minutiae … which spell out the exclamations, questionings, pauses, vulnerabilities and praises of this most remarkable poet."—Times Literary Supplement These "variations" on folkloric themes are born out of the Chuvash and Turkic motifs that Aygi grew up with, and which Aygi and France have collected in their work on Chuvash poetry. A Turkic language, Chuvash is spoken by about a million and a half people in and around Chuvashia—formerly an autonomous republic of the USSR—located 500 miles east of Moscow. Now in his 60s, Aygi continues to be celebrated as the Chuvash national poet, and as a major poet of the Russian language. 13. The birch’s rustle – like a whispered goodbye, and above it a solitary swift— like falling scissors. Gennady Aygi and Peter France have collaborated on numerous books, including Gennady Aygi: Selected Poems 1954-94 (translated by Peter France), and An Anthology of Chuvash Poetry (compiled by Gennady Aygi and translated by Peter France).

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Puerto Rican, Russian-Jewish, and Italian cultures collide in homage both to the art and form of the novel, as well as to the passions and histories that fuel our American lives. Pulaski's prose boxes through the surreal and banal. The novel weaves the maelstrom of immigrant life in post WWII New York, and the terrifying solitude of Alzheimer's cloaked beneath Vermont winters, into a fable where the sacred and the profane are inextricably wed. Courting Laura Providencia is a literary devotional. Laura said she was sure he was the father, packed up her things, and moved out of the apartment. She had been cheerful as she collected her belongings. She said Isaac was the sweetest boy she had ever known, and "a rare thing, muy singular, a Jewish drunk." Isaac wanted to say that was not exactly right, but he was drunk at the time and so he sang to her. Laura snapped the suitcase shut, settled herself in a chair, smiled, and let him sing. For a moment Isaac was stunned. It happened often looking straight into the face of Laura Providencia could cause amnesia, sleepwalking, and archaic longings which might require several lifetimes to understand. He had seen it happen to others. Jack Pulaski was born and grew up in the Williamsburg section of Brooklyn, New York. His stories have appeared in The Iowa Review, Ohio Review, Ploughshares, MSS., and The New England Review, as well as in two anthologies: The Pushcart Prize I and The Ploughshares Reader. He is the recipient of a fiction award from the Coordinating Council of Literary Magazines, and his stories have twice been singled out for high praise in the Nelson Algren Short Fiction Contest. Pulaski currently lives in Vermont.

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Yam Gong is a leading Hong Kong poet who has worked as a laborer since adolescence and produced many of his poems during his work breaks. An outsider poet, he explores the synthesis of everyday life and philosophical inquiry. Using shifting tonal registers, he refashions borrowed language, including English song lyrics, Cantonese wordplay, Chinese folk stories and poems, news reports, prayers, and slang. This bilingual volume is the first book-length collection of Yam Gong’s poems in English, drawing from his most important work over the past forty years. Moving a Stone: Selected Poems of Yam Gong is the fourth title in Zephyr’s Hong Kong Atlas series, the only series in the world to showcase Hong Kong poetry in English.

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Glazova invites us to perceive the unfolding natural world with all our senses—a bee, a swamp, the icy north—and to consider our place in it. Her concise and sensory poems elucidate not just a moment in nature, but the flow of time. A snow-covered bud, a clod of earth, an animal’s fur, and human beings are all part of a continuous cycle of life and death. Glazova is also a photographer, and light, shadow, and darkness filter through these poems. But listening is as important as seeing: “put your ear to the ground: the log and the bark beetle / sing as one—they begin.” Glazova came of age during perestroika, moved to Germany as a young woman, and received her doctorate in the U.S. Her poetry is strongly influenced by Paul Celan, whose work she has translated to Russian.

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Song Lin’s poems explore his sojourns in several countries, the natural world outside him, and his own inner landscape. His early imprisonment during the 1989 Tienanmen Square protests gave rise to the title poem, as well as a profound sense of yearning that pervades much of his work. He is a wanderer in the world and in the language of poetry, often finding beauty in others that are also on the move: birds, rivers, the wind. While his work is rooted in both contemporary and classical Chinese poetry, he incorporates American, French, and Latin-American literary traditions into his poems.

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