Love poems to the "bad," composed in the idiom of cliche, conceptualized as self-portraits, alive in the historically awesome, presently bankrupt form of the sonnet, these debut poems obsess, as do all dead white men, over big, common social constructs like race, gender, and sexuality. Demske employs himself with yet is repulsed by categorization: Fake and Real. He desensitizes your obscenity-mometer.
Normal.dotm 0 0 1 98 562 The University of Iowa 4 1 690 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} This award-winning collection simmers with wit as Brodak confronts tragedy, childhood losses, transcendent love, and the question of art itself. Tinged with a suffering—“I was the littlest wastebasket. / I was my own church. Except— / scared, scared”—that rises above personal sorrow, her fierce and painterly poems redefine nature and art and what exists between: “Lately, there is spangled shade in my space / and a cold apple orchard to tend in place of consciousness.” As Reginald Shepherd said about the poems in Brodak’s first collection, the chapbook Instructions for a Painting, her world is “‘small enough / to sing in all directions,’ and large enough to take us there.”
In March 2020, as a pandemic began to ravage our world, writer and professor B. J. Hollars started a collaborative writing project to bridge the emotional challenges created by our physical distancing. Drawing upon Emily Dickinson’s famous poem “‘Hope’ is the thing with feathers,” Hollars called on Wisconsinites to reflect on their own glimpses of hope in the era of COVID-19. The call resulted in an avalanche of submissions, each reflecting on hope’s ability to persist and flourish, even in the darkest times. As the one hundred essays and poems gathered here demonstrate, hope comes in many forms: a dad dance, a birth plan, an unblemished banana, a visit from a neighborhood dog, the revival of an old tradition, empathy. The contributors are racially, geographically, and culturally diverse, representing a rough cross section of Wisconsin voices, from truck driver to poet laureate, from middle school student to octogenarian, from small business owner to seasoned writer. The result is a book-length exploration of the depth and range of hope experienced in times of crisis, as well as an important record of what Wisconsinites were facing and feeling through these historic times.
Titled for the influential singer left almost voiceless by a terrible syndrome, the poems bring sweet melodies and rhythms as the voices blend and become multitudinous. There’s an honoring of not only survival, but of persistence, as this part research-based, pensive collection contemplates what it takes to move forward when the unimaginable holds you back.
Elegiac and powerful, Ancient Light uses lyric, narrative, and concrete poems to give voice to some of the most pressing ecological and social issues of our time. With vision and resilience, Kimberly Blaeser’s poetry layers together past, present, and futures. Against a backdrop of pandemic loss and injustice, MMIW (Missing and Murdered Indigenous Women), hidden graves at Native American boarding schools, and destructive environmental practices, Blaeser’s innovative poems trace pathways of kinship, healing, and renewal. They celebrate the solace of natural spaces through sense-laden geo-poetry and picto-poems. With an Anishinaabe sensibility, her words and images invoke an ancient belonging and voice the deep relatedness she experiences in her familiar watery regions of Minnesota. The collection invites readers to see with a new intimacy the worlds they inhabit. Blaeser brings readers to the brink, immerses them in the darkest regions of the Anthropocene, in the dangerous fallacies of capitalism, and then seeds hope. Ultimately, as the poems enact survivance, they reclaim Indigenous stories and lifeways.
Poetry. Carina Finn's debut collection LEMONWORLD & OTHER POEMS explores the contemporary zeitgeist through the lyricism of fashion, pop, and the youthful vernacular, engaging readers by asserting a sense of self that is at once aware of its place in the cultural collective and of its undeniable otherness. The poems in LEMONWORLD are sound bites on crack, designed to be aurally devastating and always well dressed.
In this book William A. Dembski brilliantly argues that intelligent design provides a crucial link between science and theology. This is a pivotal work from a thinker whom Phillip Johnson calls "one of the most important of the `design' theorists."
A photo-packed memoir by the Ramones guitarist and “true iconoclast” (Publishers Weekly). Raised in Queens, New York, Johnny Ramone founded one of the most influential rock bands of all time, but he never strayed from his blue-collar roots and attitude. He was truly imbued with the angry-young-man spirit that would characterize his persona both on and off stage. Through it all, Johnny kept the band focused and moving forward, ultimately securing their place in music history by inventing punk rock. The Ramones were inducted into the Rock and Roll Hall of Fame in 2002—and two years later, Johnny died of cancer, having outlived two other founding members. Revealing, inspiring, and told on his own terms, this memoir also features Johnny’s assessment of the Ramones’ albums; a number of eccentric Top Ten lists; rare historical artifacts; and scores of personal and professional photos, many of which have never before been published. “Feels like a conversation with Johnny.” —The Boston Globe
2019 Ohioana Book Award - Readers' Choice Winner Nothing is Okay is the second full-length poetry collection by Rachel Wiley, whose work simultaneously deconstructs the lies that we were taught about our bodies and our beings, and builds new ways of viewing ourselves. As she delves into queerness, feminism, fatness, dating, and race, Wiley molds these topics into a punching critique of culture and a celebration of self. A fat positive activist, Wiley's work soars and challenges the bounds of bodies and hearts, and the ways we carry them.
