"In the diaries [Rilke] kept from 1898 to 1900, now translated for the first time . . . the overall impression is that of a genius just coming into his own powers."—Boston Phoenix In April 1898 Rainer Maria Rilke, not yet twenty-three, began a diary of his Florence visit. It was to record, in the form of an imaginary dialogue with his mentor and then-lover, Lou Andreas-Salome, his firsthand experiences of early Renaissance art. The project quickly expanded to include not only thoughts on life, history, and artistic genius, but also unguarded moments of revulsion, self-doubt, and manic expectation. The result is an intimate glimpse into the young Rilke, already experimenting brilliantly with language and metaphor. "For the lover of Rilke, this superb translation of the poet's early diaries will be a watershed. Through Edward Snow's and Michael Winkler's brilliantly supple and faithful translation . . . a new and more balanced picture of Rilke will emerge."—Ralph Freedman
This is an engaging collection of essays that offers pleasure and profit to its readers. The title essay discusses the author's amusing travails as he attempts to write an ode about intestines, while other pieces explore the poetry of James Agee, Donald Justice, Allen Tate, and other poets, as well as the musician Johnny Winter, who is the subject of a rollicking segment about rock 'n' roll.
Following a family tragedy, author Janet Grace Riehl returns to her childhood home in the Midwest. There she turns to her craft-writing-for comfort and understanding in a world that seems stripped of meaning. In her search she discovers a new sense of connection-a reunion with life before and after her sister's death.
"Harryette Mullen is a magician of words, phrases, and songs . . . No voice in contemporary poetry is quite as original, cosmopolitan, witty, and tragic." —Susan Stewart, citation for the Academy of American Poets Fellowship Urban tumbleweed, some people call it, discarded plastic bag we see in every city blown down the street with vagrant wind. —from Urban Tumbleweed Urban Tumbleweed is the poet Harryette Mullen's exploration of spaces where the city and the natural world collide. Written out of a daily practice of walking, Mullen's stanzas adapt the traditional Japanese tanka, a poetic form suited for recording fleeting impressions, describing environmental transitions, and contemplating the human being's place in the natural world. But, as she writes in her preface, "What is natural about being human? What to make of a city dweller taking a ‘nature walk' in a public park while listening to a podcast with ear-bud headphones?"
Sexy, outspoken, and explosive, the terrorist of Soto’s debut collection resists police violence with linguistic verve and radical honesty. This debut poetry collection demands the abolition of policing and human caging. In Diaries of a Terrorist, Christopher Soto uses the “we” pronoun to emphasize that police violence happens not only to individuals, but to whole communities. His poetics open the imagination towards possibilities of existence beyond the status quo. Soto asks, “Who do we call terrorist, & why”? These political surrealist poems shift between gut-wrenching vulnerability, laugh-aloud humor, and unapologetic queer punk raunchiness. Diaries of a Terrorist is groundbreaking in its ability to speak—from a local to a global scale—about one of the most important issues of our time.
"Among America's greatest poets, a true minimalist who can weave awesome poems from remarkably few words." -Richard Kostelanetz, New York Times Book Review Every generation of poets seems to harbor its own hidden genius, one whose stature and brilliance come to light after his talent has already been achieved and exercised. The same drama of obscurity and nuance that attended the discovery of Emily Dickinson and Wallace Stevens is suggested by the career of Robert Lax. An expatriate American whose work to date — more than forty books — has been published mostly in Europe, this 85-year-old poet built a following in the U.S. among figures as widespread as Mark Van Doren, e. e. cummings, Jack Kerouac, and Sun Ra. The works in Love Had a Compass represent every stage of Lax's development as a poet, from his early years in the 1940s as a staff writer for The New Yorker to his present life on the Greek Island of Patmos. An inveterate wanderer, Lax's own sense of himself as both exile and pilgrim is carefully evoked in his prose journals and informs the pages of the Marseille Diaries, published here for the first time. Together with the poems, they provide the best portrait available to date of one of the most striking and original poets of our age.
I thought about you today. I had to write down my thoughts before they faded, as you did, in my rearview. Memory is so seductive, so deceptive, so ethereal ... and yet ... and yet ... I thought about you today and it was as if you were here, beside me again, a living ghost.
At age thirty-six, acclaimed poet Marya Zaturenska's work reached its full potential even as she battled emotional and physical illness. Recently rediscovered diaries, published here for the first time, reflect that crucial period in the poet's life. Born in Kiev, Russia, Marya Zaturenska moved to New York City at the age of eight. To help support her family, she dropped out of public high school and held various jobs in a factory, a publishing house, and bookstore. By taking night courses she managed to complete high school. Meanwhile, she wrote poetry, some of which appeared in national magazines. In time, Zaturenska would publish eight books of poetry and a biography of Christina Rossetti for which she won critical acclaim. With her husband, Horace Gregory, she wrote A History of American Poetry, 1900-1940—and counted among her literary contemporaries Willa Cather, Theodore Raethke, May Sarton, Muriel Rukeyser, Robert Frost, W. H. Auden, Padraic and Mary Colum, and Malcolm Cowley. Significantly, these papers reveal a woman whose life brimmed with creativity, love of family, and good humor in the face of despair. Her keen poet's eye offers biting commentary on New York's literary scene. Furthermore, she not only chronicles the onset of World War II but also observes how the war reshaped American literary tastes and attitudes.
This collection presents new approaches to Dickinson, informed by twenty-first-century theory and methodologies. The book is indispensable for Dickinson scholars and students at all levels, as well as scholars specializing in American literature, poetics, ecocriticism, new materialism, race, disability studies, and feminist theory.