"There wasn't one page of his poem that didn't delight me."—Donald Davie, New York Review of Books Sphere is the second of A. R. Ammons's long poems—following Tape for the Turn of the Year and preceding Garbage—that mark him as a master of this particular form. The sphere in question is the earth itself, and Ammons's wonderfully stocked mind roams globally, ruminating on subjects that range from galaxies to gas stations. It is a remarkable achievement, comparable in importance to Wallace Stevens's Notes Toward a Supreme Fiction.
I reject the North because it is not / my native ground, and I reject the / South because it rejected me, and I / reject European clutterment because / we fought to put that ocean between / us. I identify with no sort or kind: / I am by myself.
There’s a new set of 3Rs for our kids—respect, responsibility, and resilience—to better prepare them for life in the real world. Once developed, these skills let kids take charge, and let parents step back, to the benefit of all. Casting hover mothers and helicopter parents aside, Vicki Hoefle encourages a different, counter-intuitive—yet much more effective—approach: for parents to sit on their hands, stay on the sidelines, even if duct tape is required, so that the kids step up. Duct Tape Parenting gives parents a new perspective on what it means to be effective, engaged parents and to enable kids to develop confidence through solving their own problems. This is not a book about the parenting strategy of the day—what the author calls “Post-It Note Parenting”—but rather a relationship-based guide to span all ages and stages of development. Witty, straight-shooting Hoefle addresses frustrated parents everywhere who are ready to raise confident, capable children to go out in the world.
An acclaimed artist celebrates the creative possibilities of macramé and knots in this memoir and guide featuring projects and tutorials. Every day for a year, artist Windy Chien learned to tie a new kind of knot and then shared the results on Instagram—a project that both reinvented her life and revolutionized knot art. In The Year of Knots, Chien describes how knot-making led her on a path of discovery. She shares projects, tutorials, and transformative personal stories, all aimed at inspiring readers to make knotting—and creativity in general—part of a meditative daily practice. The knots in this book are gorgeously documented step-by-step. Knotted projects abound—from wall hangings to a necklace, a dog leash, a hanging light, and more. At the heart of the story is the simple, empowering idea that a single year is all the time you need to make a life-changing creative leap.
Forcefully demonstrating that brevity is the soul of wit, 160 short poems, spanning the career of one of America's most honored poets, range from mordantly funny paradoxes to compressed incidents of lyric perception
“One of the great American poets . . . he sounds like nobody else.”—Helen Vendler “So I said I am Ezra / and the wind whipped my throat / gaming for the sounds of my voice. . . .” So begins one of the most remarkable oeuvres in the history of American poetry. The Complete Poems of A. R. Ammons, Volume I presents the first half of Archie Randolph Ammons’s long career, including the complete texts of his three book-length poems from that period: the verse diary Tape for the Turn of the Year, the Bollingen Prize–winning Sphere: The Form of a Motion, and the daring kaleidoscope of The Snow Poems, which late in life Ammons said of all his long poems was his favorite. Here are many of Ammons’s most widely celebrated lyrics and meditations, including “Corsons Inlet,” “Still,” “Gravelly Run,” and “The City Limits.” Others are more directly inspired by his roots in the rural south, among them “Nelly Myers,” “Silver,” and “Mule Song.” Here too are conversations with mountains (as in “Classic” and “Mountain Talk”) and exchanges with the wind (“The Wide Land” and “Mansion”), materialist explanations of reality (“Mechanism” and “Catalyst”) and prayers (such as the several poems titled “Hymn”). A poet drawn to theorizing about poetry, Ammons offers both sophisticated discussions of the art (as in “Poetics” and “Essay on Poetics”) and disarming assurance: “I believe in fun.” The text of each poem has been established after careful consideration of Ammons’s manuscripts and other prepublication materials. Endnotes detail the poems’ composition and publication histories, and also helpfully annotate references made within the poems. This volume confirms Richard Howard’s judgment: “Here was a great poet, surely one of the largest to speak among us.”
