Winner of the Nobel Prize in Literature Winner of the Pulitzer Prize From Pulitzer Prize-winning poet Louise Glück, a stunningly beautiful collection of poems that encompasses the natural, human, and spiritual realms Bound together by the universal themes of time and mortality and with clarity and sureness of craft, Louise Glück's poetry questions, explores, and finally celebrates the ordeal of being alive.
Glck's poetry resists collection. With each successive book her drive to leave behind what came before has grown more fierce. She invented a form to accommodate this need, the book-length sequence of poems.
For poet Mary Oliver, nature is full of mystery and miracle. From the excitation of birds in the sky to the flowers and plants that are "the simple garments" of the earth, the natural world is her text of both the earth's changes and its permanence. In Blue Iris, Mary Oliver collects ten new poems, two dozen of her poems written over the last two decades, and two previously unpublished essays on the beauty and wonder of plants. The poet considers roses, of course, as well as poppies and peonies; lilies and morning glories; the thick-bodied black oak and the fragrant white pine; the tall sunflower and the slender bean. James Dickey has said of her, "Far beneath the surface-flash of linguistic effect, Mary Oliver works her quiet and mysterious spell. It is a true spell, unlike any other poet's, the enchantment of the true maker." In Blue Iris, she has captured with breathtaking clarity the true enchantment and mysterious spell of flowers and plants of all sorts and their magnetic hold on us.
In this deft analysis, Vernon Shetley shows how writers and readers of poetry, operating under very different conventions and expectations, have drifted apart, stranding the once-vital poetic enterprise on the distant margins of contemporary culture. Along with a clear understanding of where American poetry stands and how it got there, After the Death of Poetry offers a compelling set of prescriptions for its future, prescriptions that might enable the art to regain its lost stature in our intellectual life. In exemplary case studies, Shetley identifies the very different ways in which three postwar poets--Elizabeth Bishop, James Merrill, and John Ashbery--try to restore some of the challenge and risk that characterized modernist poetry's relation to its first readers. Sure to be controversial, this cogent analysis offers poets and readers a clear sense of direction and purpose, and so, the hope of reaching each other again.
Poetry. "Manuel Iris reclaims the poetic space as a radical exploration and celebration of paternal love and tenderness. If language is a vector of truth and transformation, if 'the poem opens its wound' to the spaces in which we examine ourselves and love begets love, the poems in this bilingual collection offer the magnitude and direction to do exactly what poetry aims to do: say in words what can never be expressed in words. Iris' poems reveal the silences of our most vulnerable selves, and 'the silence/ toward which we migrate,/ from which we came.'"--Tara Skurtu
Writer Iris Berry has always been fascinated by the reality of modern-day Hollywood and its glittery history as Tinseltown, and in her new collection of poetry, All That Shines Under the Hollywood Sign, the two worlds collide. She marvels about the way jazz glides "its way/down translucent highways/at one in the morning" and "ephemeral evenings/draped across Hollywood" and rhapsodizes about such long-lost local landmarks as the Tropicana Motel and the Garden of Allah. Accompanied by evocative L.A.-centric illustrations by Scott Aicher. Berry's portraits of vanishing and changing Southern California are often sentimental but infused with a rueful punk-rock perspective as she mulls over how "A catalog/of catastrophic events/shaped our lives. Falling James, LA WEEKLY
Vols. for 1871-76, 1913-14 include an extra number, The Christmas bookseller, separately paged and not included in the consecutive numbering of the regular series.
WINNER OF THE NOBEL PRIZE IN LITERATURE A dreamlike collection from the Nobel Prize-winning poet A Village Life, Louise Glück's eleventh collection of poems, begins in the topography of a village, a Mediterranean world of no definite moment or place: All the roads in the village unite at the fountain. Avenue of Liberty, Avenue of the Acacia Trees— The fountain rises at the center of the plaza; on sunny days, rainbows in the piss of the cherub. —from "tributaries" Around the fountain are concentric circles of figures, organized by age and in degrees of distance: fields, a river, and, like the fountain's opposite, a mountain. Human time superimposed on geologic time, all taken in at a glance, without any undue sensation of speed. Glück has been known as a lyrical and dramatic poet; since Ararat, she has shaped her austere intensities into book-length sequences. Here, for the first time, she speaks as "the type of describing, supervising intelligence found in novels rather than poetry," as Langdon Hammer has written of her long lines—expansive, fluent, and full—manifesting a calm omniscience. While Glück's manner is novelistic, she focuses not on action but on pauses and intervals, moments of suspension (rather than suspense), in a dreamlike present tense in which poetic speculation and reflection are possible.
