“It is as if the poet set fire to her earlier work and wrote these poems in the light of those flames.”—Mark Wunderlich April Bernard explores subjects ranging from childhood anger to adult grief, from a museum of skulls to the Western movie genre. By turns playful, sorrowful, and sharp-edged, Brawl and Jag stands as Bernard’s most personal and accessible collection to date. From “Anger”: I always lie when I always say I didn’t know the gun was loaded.
An acclaimed poet finds moral and spiritual connection in this fierce, dexterous volume. Balancing emotional openness with formal restraint, April Bernard proves once again a poet who “harmonizes the raucous and the classic, the songful and the wry, the courtly and the quick” (Wayne Koestenbaum). Throughout her sixth collection, Bernard searches for “the world behind the world,” a spiritual realm of justice and peace, music and grace. The host of saints present in this parallel world includes poets—John Ashbery, Thomas Wyatt, Gerard Manley Hopkins—as well as folklore spirits, animals wild and domestic, and personal ghosts. Mystical, daring, expertly crafted, and ironic, The World Behind the World embarks on a wide-ranging journey through memory and loss to reach “that other world, where nothing human can wreck us.” Along the way, the poet conjures lush woodlands and icy oceans, wry conversations with voices from the past, and transformative moments of reckoning and healing. Rising up from despair, anger, and grief, this powerful collection proposes a moving, personal faith.
In this urgent outpouring of American voices, our poets speak to us as they shelter in place, addressing our collective fear, grief, and hope from eloquent and diverse individual perspectives. “One of the best books of poetry of the year . . . Quinn has accomplished something dizzying here: arranged a stellar cast of poets . . . It is what all anthologies must be: comprehensive, contradictory, stirring.” —The Millions **Featuring 107 poets, from A to Z—Julia Alvarez to Matthew Zapruder—with work in between by Jericho Brown, Billy Collins, Fanny Howe, Ada Limón, Sharon Olds, Tommy Orange, Claudia Rankine, Vijay Seshadri, and Jeffrey Yang** As the novel coronavirus and its devastating effects began to spread in the United States and around the world, Alice Quinn reached out to poets across the country to see if, and what, they were writing under quarantine. Moved and galvanized by the response, the onetime New Yorker poetry editor and recent former director of the Poetry Society of America began collecting the poems arriving in her inbox, assembling this various, intimate, and intricate portrait of our suddenly altered reality. In these pages, we find poets grieving for relatives they are separated from or recovering from illness themselves, attending to suddenly complicated household tasks or turning to literature for strength, considering the bravery of medical workers or working their own shifts at the hospital, and, as the Black Lives Matter movement has swept the globe, reflecting on the inequities in our society that amplify sorrow and demand our engagement. From fierce and resilient to wistful, darkly humorous, and emblematically reverent about the earth and the vulnerability of human beings in frightening times, the poems in this collection find the words to describe what can feel unspeakably difficult and strange, providing wisdom, companionship, and depths of feeling that enliven our spirits. A portion of the advance for this book was generously donated by Alice Quinn and the poets to Chefs for America, an organization helping feed communities in need across the country during the pandemic.
“I did not go to Nicaragua intending to write a book, or, indeed, to write at all: but my encounter with the place affected me so deeply that in the end I had no choice.” So notes Salman Rushdie in his first work of nonfiction, a book as imaginative and meaningful as his acclaimed novels. In The Jaguar Smile, Rushdie paints a brilliantly sharp and haunting portrait of the people, the politics, the terrain, and the poetry of “a country in which the ancient, opposing forces of creation and destruction were in violent collision.” Recounting his travels there in 1986, in the midst of America’s behind-the-scenes war against the Sandinistas, Rushdie reveals a nation resounding to the clashes between government and individuals, history and morality.
This book argues that there are deep connections between ‘poetic’ thinking and the sensitive recognition of creaturely others. It explores this proposition in relation to four poets: Marianne Moore, Elizabeth Bishop, Ted Hughes, and Les Murray. Through a series of close readings, and by paying close attention to issues of sound, rhythm, simile, metaphor, and image, it explores how poetry cultivates a special openness towards animal others. The thinking behind this book is inspired by J. M. Coetzee’s The Lives of Animals. In particular, it takes up that book’s suggestion that poetry invites us to relate to animals in an open-ended and sympathetic manner. Poets, according to Elizabeth Costello, the book’s protagonist, ‘return the living, electric being to language’, and, doing so, compel us to open our hearts towards animals and the claims they make upon us. There are special affinities, for her, between the music of poetry and the recognition of others. But what might it mean to say that poets to return life to language? And why might this have any bearing on our relationship with animals? Beyond offering many suggestive starting points, Elizabeth Costello says very little about the nature of poetry’s special relationship with the animal; one aim of this study, then, is to ask of what this relationship consists, not least by examining the various ways poets have bodied forth animals in language.
In A Natural History of the Senses Diane Ackerman revealed herself as a naturalist who writes with the sensuous immediately of a great poet. Now Jaguar of Sweet Laughter presents the work of a poet with the precise and wondering eye of a gifted naturalist. Ackermans's Olympian vision records and transforms landscapes from Amazonia to Antarctica, while her imaginative empathy penetrates the otherness of hummingbirds, deer, and trilobites. But even as they draw readers into the wild heart of nature, Ackerman's poems are indelible reminders of what it is to be a human being—the "jaguar of sweet laughter" that, according to Mayan mythology, astonished the world because it was the first animal to speak.
