At an early age, Olga Sedakova began writing poetry and, by the 1970s, had joined up with other members of Russia's underground second culture' to create a vibrant literary movement - one that was at odds with the political powers that be. This conflict prevented Sedakova's books from being published in the U.S.S.R., they were only available as hand written books. But now Sedakova has published 27 volumes of verse and prose. This is a unique introduction to her work, bringing together a memoir-essay and two poetic works.'
One of the chief functions of poetry in Antiquity, the Middle Ages and the Renaissance was to praise gods, people and things. Heroes and kings were glorified in many varieties of praise, and the arts of encomium and panegyric were codified by classical rhetoricians and later by writers on poetry. J. A. Burrow's study spans over two thousand years, from Pindar to Christopher Logue, but its main concern is with the English poetry of the Middle Ages, a period when praise poetry flourished. He argues that the 'decline of praise' in English literature since the seventeenth century, which has meant that modern readers and critics find it hard to appreciate this kind of poetry. This erudite but accessible account by a leading scholar of medieval literature shows why the poetry of praise was once so popular, and why it is still worth reading today.
2016 Lambda Literary Award for Lesbian Poetry, Finalist. JP Howard's debut collection, SAY/MIRROR, is a dialogue of history and memory, reflecting on and integrating vintage photographs of her mother, Ruth King (a fairly well known African American runway model in Harlem during the 1940's and 1950's) with snapshots from the poet's own childhood. This manuscript began to emerge when Howard gained access to a large collection of her mother's modeling photos, as well as some local Harlem magazine and newspaper clippings, and was thereby offered a window into her heyday, begging comparison to and recollection of a complex motherhood away from the spotlight. Here is a project that seeks to use poetry as both memoir and biography, alongside the evocative nostalgia of vintage image a map from which Howard has pieced together the bright but uneven path of growing up in the shadow of a "model" mother. The atlas of SAY/MIRROR charts the islands of the poet and her mother's overlapping lives unearthing the shared experiences of a single parent and only child, coming to terms with each other in the 1970's and 80's: a socio-historical-emotional retelling of the life of a diva through a daughter's eyes, with both parent and child learning to navigate the rocky terrain therein. "JP Howard's collection of poems is a raw reminder of the experience of motherhood and daughterhood. Her sharp memories of love and neglect; elegance, admiration and inadequacy leave a salty/sweet taste not soon forgotten." Jewelle Gomez "Juliet P. Howard's porcelain collection of daughter memoirs is enough to break into you like fine China the shadow of her legacy hovering just above diva, the tenderness of grief stained just below doll." Anastacia Tolbert "Praise Juliet Howard for the wonderful ability to bring to life a mother whose beauty, seduction and danger challenge the notions of a young girl growing up in her shadow. SAY/MIRROR manages to capture with sharp detail and lively resonant language the elegance and ambivalence of the poet's mother and her world. These poems evoke images of passion and loss, pain and joy. We must all stand up and applaud the poem 'pushing her way to the surface... her shape on the page as she unfolds.'" Pamela L. Laskin "JP Howard stands out both for her fine poetry and for her passionate, unrelenting involvement with and on behalf of lesbians of color, all lesbians, and the LGBTQ literary community. She reverently celebrates our forebears. A poet, a teacher, and a curator, Ms. Howard has shown an ongoing commitment to nurturing our writers and to writing and publishing from her heart." Lambda Literary Award judges Reginald Harris and Lee Lynch" - to mourn, to protest, to wish for peace and to fight for justice - an OS [re: con]versation with JP Howard
This is Clara Burghelea's second full collection of poetry. Clare is a Romanian-born poet with an MFA in Poetry from Adelphi University. Recipient of the Robert Muroff Poetry Award, her poems and translations appeared in Ambit, Waxwing, The Cortland Review and elsewhere. Her collection The Flavor of The Other was published in 2020 with Dos Madres Press. She is the Translation/International Poetry Editor of The Blue Nib Literary Magazine.
"What a strange and intense book this is! David Blair has a wild, restless imagination and he uses language like saw, a hammer, a velvet whip. He can write incredibly tender (and original) love poems and enfilading satirical poems, as well as many of the many other "kinds" of poems between those poles, and they all seem entirely at home, indeed, need to be in this book together. His music, his diction, his refusal to use (ever!) cliches, his syntax all drive his poems and their hearts forward. That is where his poems go: forward. He will be in the company of the best poets of his generation." --Thomas Lux "Nothing can remain horizontal or vertical for long" might as well be David Blair's mini ars poetica. A commitment to the pleasures and terrors of change, you might say. I have been reading Blair's poems for about ten years now--struck always by his unique pitch and tone, the tensile muscularity of his syntax and vibrational accents. His diction is totally unboxed. He reminds me a bit of August Kleinzahler or John Yau in this--a karaoke of urban hullabaloo sung slightly off the beat, all for the sake of swing....David Blair's acceptance of the world is signaled by his stylishness, provoked by the people and things he encounters. His brain knows that it's living in an animal body. And it moves among all these other minds and bodies in motion. Changed by the smallest of changes. Unbalanced but at ease. This poet's energy reminds me of Edwin Denby's comments about De Kooning's paintings from the 1930s: "He wanted everything in the picture out of equilibrium except spontaneously all of it...a miraculous force and weight of presence moving from all over the canvas at once." These poems wantthat, too. --David Rivard, /Boston Review/ "David Blair's work is both public and discreet, somewhere between black box theatre and a blind date with an utterly beguiling stranger. His poems are dinner parties, intimate and sumptuous, arranged with great care and yet full of unforeseen turns: the pope gives way to 'the first red coils of the peonies' and a the hair of a lost aviator becomes 'brown, fibrous light.' How refreshingly unlike contemporary poetry this book is; a pleasure. --D. A. Powell
An acclaimed American poet reflects on the life and legacy of John Keats. Posthumous Keats is the result of Stanley Plumly's twenty years of reflection on the enduring afterlife of one of England's greatest Romanticists. John Keats's famous epitaph—"Here lies One Whose Name was writ in Water"—helped cement his reputation as the archetype of the genius cut off before his time. Keats, dead of tuberculosis at twenty-five, saw his mortality as fatal to his poetry, and therein, Plumly argues, lies his tragedy: Keats thought he had failed in his mission "to be among the English poets."In this close narrative study, Plumly meditates on the chances for poetic immortality—an idea that finds its purest expression in Keats, whose poetic influence remains immense. Incisive in its observations and beautifully written, Posthumous Keats is an ode to an unsuspecting young poet—a man who, against the odds of his culture and critics, managed to achieve the unthinkable: the elevation of the lyric poem to sublime and tragic status.
Rodney Gómez's Arsenal With Praise Song somehow manages to yoke together lament and celebration, reproach and veneration across the borders of eras and nations. Set in the stark desert landscape of the México-U.S. border all too familiar to so many refugees and migrants, these poems scrutinize human bodies and the body of the earth as the sites of great injustices and violences-political, social, and spiritual-and as the vehicles that carry our collective legacy generation to generation.
At the age of 19, Phillis Wheatley was the first black American poet to publish a book. Her elegies and odes offer fascinating glimpses of the beginnings of African-American literary traditions. Includes a selection from the Common Core State Standards Initiative.
