Greetings!
We hope all is well with you. We miss seeing you at the bookshop. Thank you for your your continued support. You can buy any book from the link to our shop. For books of poetry or other quarantine reading click here
Also, Please see our list of new books to preorder for Fall
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Soul Sister Revue: A Poetry Compilation
“In this striking anthology 40 poets from the Soul Sister Revue reading series, including Evie Shockley, Hanif Abdurraqib, Rachel Eliza Griffiths, Cathy Linh Che, José Olivarez, and Patricia Smith, commemorate culture, Motown, and community, while responding to the question What does Soul mean to you?”
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The Breaking of Style: Hopkins, Heaney, Graham
“Style is the material body of lyric poetry, Helen Vendler suggests. To cast off an earlier style is to do an act of violence to the self. Why might a poet do this, adopting a sharply different form? In this exploration of three kinds of break in poetic style, Vendler clarifies the essential connection between style and substance in poetry. Opening fresh perspectives on the work of three very different poets, her masterful study of changes in style yields a new view of the interplay of moral, emotional, and intellectual forces in a poet's work. Gerard Manley Hopkins' invention of sprung rhythm marks a dramatic break with his early style. Rhythm, Vendler shows us, is at the heart of Hopkins' aesthetic, and sprung rhythm is his symbol for danger, difference, and the shock of the beautiful. In Seamus Heaney's work, she identifies clear shifts in grammatical "atmosphere" from one poem to the next--from "nounness" to the "betweenness" of an adverbial style--shifts whose moral and political implications come under scrutiny here. And finally Vendler looks at Jorie Graham's departure from short lines to numbered lines to squared long lines of sentences, marking a move from deliberation to cinematic "freeze-framing to coverage, each with its own meaning in this poet’s career.”
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100 Poems
Seamus Heaney had the idea to make a personal selection of poems from across the entire arc of his writing life, a collection small yet comprehensive enough to serve as an introduction for all comers. He never managed to do this himself, but now, finally, the project has been returned to, resulting in an intimate gathering of poems chosen and introduced by the Heaney family. No other selection of Heaney's poems exists that has such a broad range, drawing from the first to the last of his prizewinning collections. In 100 Poems, readers will enjoy the most loved and celebrated poems, and will discover new favorites. It is a singular and welcoming anthology, reaching far and wide, for now and for years to come.
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Traditional Japanese Poetry: An Anthology
“This anthology brings togethere in convenient form a rich selection of Japanese poetry in traditional genres dating back from the earliest times to the twentieth century. With more than 1,100 poems, it is the most varied and comprehensive selection of traditional Japanese poetry now available in English.
Ezra Pound called poetry "the most concentrated form of verbal expression," and the great poets of Japan wrote poems as charged and compressed as poems can be. The Japanese language, with its few consonates and even fewer vowels, did not lend itself to expansive forms, making small seem better and perhaps more powerful. There is also the historical context in which Japanese poetry developed--the highly refined society of the early courts of Nara and Kyoto. In this setting, poetry came to be used as much for communication between lovers and friends as for artistic expression, and a tradition of cryptic statement evolved, with notes passed from sleeve to sleeve or conundrums exchanged furtively in the night.
Add to this the high sense of decorum that dominated court society for centuries, and you have the conditions that led to the development of the classical uta (also referred to as tanka or waka), the thrity-one-syllable form that acts as the foundation for virtually all poetry written in Japanese between 850 and 1900.
In choosing poems, the compiler has given priority to authors and works gnerally acknowledged as of great artistic and/or historical importance by Japanese scholars. For this reason, major poets such as Kakinomoto no Hitomaro, Izumi Shikibu, Saigyo, and Matsuo Basho are particualarly important collections such as Man'yoshu, Kokinshu, and Shin kokinshu. In addtion, the volume also contains samplings from genres such as the poetic diary, linked verse, Chinese forms, and comic verse.”
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Here Is the Sweet Hand: Poems
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“The poems in Here is the Sweet Hand explore solitude as a way of seeing. In particular, the speakers in francine j. harris' third collection explore the mystique, and myth, of female loneliness as it relates to blackness, aging, landscape and artistic tradition.
The speakers in these poems are often protagonists. Against the backdrop of numerous American cities and towns, and in a time of political uncertainty, they are heroines in their quest to find logic through their own sense of the world. The poems here are interested in the power of observation. But if there is authority in the individual versus the collective, Here is the Sweet Hand also poses questions about the source of that power, or where it may lead. As in her acclaimed previous collections, harris' skillful use of imagery and experimentation with the boundaries of language set the stage for unorthodox election commemoration, subway panic, zoomorphism, and linguistic battlefields. From poems in dialogue with the artistry of Toni Morrison and Charles Burnett to poems that wrestle with the moods of Frank Stanford and Ty Dolla $ign, the speakers in this book signal a turn at once inward and opening.”
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What about This: Collected Poems of Frank Stanford
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"What About This... introduces to a broader audience an important and original American poet -- sensitive, death-haunted, surreal, carnal, dirt-flecked and deeply Southern -- whose promise, only partly fulfilled, it hurts to contemplate. His poems flick on a heretofore unnoticed porch light in your mind."--Dwight Garner, The New York Times
* "Stanford fearlessly explored the terror and wonder of the mind and the physical world."--Publishers Weekly, starred review
* "Highly recommended work from an American original."--Library Journal, starred review
"What About This marks a rare moment, when a critical and completely original American voice is recovered after decades and takes its rightful place in the canon...Now that the work is finally available, the real risk is that Stanford's poetic legacy will play second fiddle to the myth of his life and death. The beautiful young suicide is a hard narrative to shake....What About This offers the fullness of both the work and the image, and leaves it to readers to decide what they will value most."--Jay Deshpande, The New Republic
"This vibrant volume forms a comprehensive selection from his huge output, and includes published and unpublished poetry and prose, archival photographs, original manuscripts, a rejection letter, an interview, and excerpts from the 'ungovernable' fifteen-thousand-line epic poem, 'The Battlefield Where the Moon Says I Love You'...Stanford's poems are by turns earthly and visionary."--The New Yorker
"The big event in poetry for 2015 will likely be the long-awaited resurrection of Frank Stanford, a legendary badass from Arkansas, much of whose poetry has been unavailable since his suicide at the age of 29 in 1978... Stanford was a hell of a metaphor-maker and simile-slinger, and could cast a spell of extreme intensity with a flick of his wrist."--NPR.org
"The book What About This], layered with north Delta dialect and superstition, departs again and again on dream-like thought sequences in which unpredictable imagery continually startles the imagination and overwhelms it with visceral beauty."--Matthew Henricksen, Arkansas Times
"Frank Stanford's What About This is a monumental achievement. So much of Stanford's work was unpublished, scattered about in limited-edition, hard-to-find volumes, but now it has been collected and readers will rejoice to discover (or rediscover) a distinct poetic voice.... He was a voracious reader and was heavily influenced by Thomas Merton and French writers. He loved the Surrealists and Rimbaud, Mallarme, Follain and the French filmmakers Cocteau and Bu uel. His poetry is wildly imagistic, imbued with Southern folklore and culture, and it's--to use Stanford's own word--'strange.'"--Tom Lavoie, Shelf Awareness
"Stanford was a teenage prodigy out of Arkansas bleeding beautiful streams of Faulkner-like fever dream that has survived mostly in out-of-print chapbooks passed hand-to-hand. Now a monster compilation, 'What About This: Collected Poems of Frank Stanford, ' has assembled more than 700 pages of poetry and a little prose like a moon-spattered Bible."--Dean Kuipers, Los Angeles Times
“As Dean Young writes in the Foreword to the book: "Many of these poems seem as if they were written with a burnt stick. With blood in river mud... Frank Stanford, demonically prolific, approaches the poem not as an exercise of rhetoric or a puzzle of signifiers but as a man 'looking for his own tongue' in a knife-fight with a ghost."
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Just Us: An American Conversation
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“As everyday white supremacy becomes increasingly vocalized with no clear answers at hand, how best might we approach one another? Claudia Rankine, without telling us what to do, urges us to begin the discussions that might open pathways through this divisive and stuck moment in American history. Just Us is an invitation to discover what it takes to stay in the room together, even and especially in breaching the silence, guilt, and violence that follow direct addresses of whiteness. Rankine's questions disrupt the false comfort of our culture's liminal and private spaces--the airport, the theater, the dinner party, the voting booth--where neutrality and politeness live on the surface of differing commitments, beliefs, and prejudices as our public and private lives intersect. This brilliant arrangement of essays, poems, and images includes the voices and rebuttals of others: white men in first class responding to, and with, their white male privilege; a friend's explanation of her infuriating behavior at a play; and women confronting the political currency of dying their hair blond, all running alongside fact-checked notes and commentary that complements Rankine's own text, complicating notions of authority and who gets the last word. Sometimes wry, often vulnerable, and always prescient, Just Us is Rankine's most intimate work, less interested in being right than in being true, being together.”
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Conrad Aiken: Poet of White Horse Vale
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“The first of a planned two-volume biography, Conrad Aiken: Poet of White Horse Valefollows Aiken's early life from his birth in 1889 to 1925 when he stood on the threshold of both nervous breakdown and poetic success. It was then that Aiken began to face his paradoxically idyllic and tragic Savannah childhood and to confront the events of February 27, 1901. On that day, the eleven-year-old Aiken heard gunshots punctuate a nightlong argument between his mother and father. Running into the next room, he discovered his mother murdered and his father dead by suicide.
Sounding the deep reverberations of those events in Aiken's mind, Edward Butscher follows the poet's life and work as he sought to regain, in some permanent form, the idyll he had lost as a child. Butscher tells of Aiken's determined efforts to gain recognition for his verse in the fevered cultural circuits of the early twentieth century--from his friendship, begun at Harvard, with T. S. Eliot, through frustrating excursions into the literary society of England and repeated trips on the poetic "trade route" from his home in Boston to Chicago and New York, to often sharp encounters with such powerful cultural barons as Ezra Pound, Amy Lowell, and Harriet Monroe. Hoping to build his reputation on a series of detached poetic "symphonies," to keep depression from boiling over into madness and suicide, Aiken skirted the border of his deepest memories and fears--a border he would cross in the works that lay ahead.“
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The Poems of Dylan Thomas
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“The reputation of Dylan Thomas (1914-1953) as one of the greatest poets of the twentieth century has not waned in the fifty years since his death. A Welshman with a passion for the English language, Thomas's singular poetic voice has been admired and imitated, but never matched.
This exciting, newly edited annotated edition offers a more complete and representative collection of Dylan Thomas's poetic works than any previous edition. Edited by leading Dylan Thomas scholar John Goodby from the University of Swansea, The Poems of Dylan Thomas contains all the poems that appeared in Collected Poems 1934-1952, edited by Dylan Thomas himself, as well as poems from the 1930-1934 notebooks and poems from letters, amatory verses, occasional poems, the verse film script for "Our Country," and poems that appear in his "radio play for voices," Under Milk Wood. Showing the broad range of Dylan Thomas's oeuvre as never before, this new edition places Thomas in the twenty-first century, with an up-to-date introduction by Goodby whose notes and annotations take a pluralistic approach.”
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Ambition and Survival: Becoming a Poet
”Blazing high style" is how The New York Times describes the prose of Christian Wiman, the young editor who transformed Poetry, the country's oldest literary magazine.
Ambition and Survival is a collection of stirring personal essays and critical prose on a wide range of subjects: reading Milton in Guatemala, recalling violent episodes of his youth, and traveling in Africa with his eccentric father, as well as a series of penetrating essays on writers as diverse as Thomas Hardy and Janet Lewis. The book concludes with a portrait of Wiman's diagnosis of a rare form of incurable and lethal cancer, and how mortality reignited his religious passions.
When I was twenty years old I set out to be a poet. That sounds like I was a sort of frigate raising anchor, and in a way I guess I was, though susceptible to the lightest of winds. . . . When I read Samuel Johnson's comment that any young man could compensate for his poor education by reading five hours a day for five years, that's exactly what I tried to do, practically setting a timer every afternoon to let me know when the little egg of my brain was boiled. It's a small miracle that I didn't take to wearing a cape.”
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