Zigzags , a collection of Nash's latest poetry, explores how virtually none of our thoughts, actions or feelings go very far without becoming paradoxes and contradictions. Some paradoxes are humourous, but some are deadly. The poems debunk an intellectualism that pretends we can strategize straight lines of progress to our goals. Rather, "Life's walking a straight zigzag, while standing upright in a somersault" (Irish saying). Zigzags replaces this intellectualism with a vision of life and ourselves expressed in the harmonizing metaphors of poetry.

This book attempts to solve the yet unsolved mystery: what are the intuitive rules of versification followed by poets and readers in writing and reading poetry? It performs a small Copernican Revolution, shifting the constraints from verse structure to the reader's «Rhythmic Competence». It confers a psychological meaning upon the phrase «rhythmical performance», that allows us to make predictions concerning the rhythmical performance of a metrically complex line. The theoretical discussions are supported by empirical research, in which readings by leading British actors and colleagues from the academy are submitted to an instrumental investigation.

Poetry. "As Paul Pines moves through two cities he reminds us that 'we go where we must to find / what we need.' And what he finds is plenty plenty in all senses and for all the senses. From poems that hang out in the crazy costumes, poignant hilarities, and irreverent reverences of Mardi Gras, to those that fly with hermes over the roofs of Paris, explore light with Monet and Pissarro, and walk graveyards in the wake of Apollinaire this book brims, seethes, teems, with qi, duende, life. Here is a magnanimity of vision that touches myths, rituals and philosophies, that garners pasts, presences and absences, that engenders probabilities, realities and impossibilities. Encompassing space-travel, dream-travel and mind-travel, here is an immense, vibrant, moving canvas." Richard Berengarten"

Momentous did they seem? Not now, so still / They are, are, are, are, are, the things I see / And will be when they're lost, obliterated, / The model passed away, On this old empty vase glazed patterns dance, / Above it fixed wings beat, the migrants' flight. / Good morning, present, absent ones, good night. (from Ave Atque Vale (p. 84).

Michael Hamburger's latest collection of poems will appeal to both new and existing readers. Other collections by this author include 'Intersections' and 'Late'

"World", Maxine Chernoff's first full-length collection of poetry in ten years, explores the borders of personal and group experience, public and private language. From brief riffs on jazz to prose poem dialogues to long sequences about Emerson's essays and the problematic relationship of Alfred Stieglitz and Georgia O'Keeffe ("World"), she examines the range of poetic possibility in "linguistic cuts and connections" that surprise the mind and ear.Like her more recent previous collections, "New Faces of 1952", "Japan", and "Leap Year Day", "World" is written in a mixture of styles and tones from the sonic, terse lyrics of the sequence "World" and the ten poems based on Emerson's essays to the vernacular of the prose poems, which are lively, dialogue-based explorations of relationships.Part One of "World" consists of individual poems that examine the relation of language to reality at the seams of representation. From collisions of the language of the personal and public in such poems as "Todorov at Ellis Island," "Politics," "Transactional" and "Next Song" to poems like "Nature Morte" and "The North Sea" that interrogate the relation of the world as object to the world as subject, Chernoff is interested in the meaning of the poetic act and its repercussions. Nothing is solid or sealed in these poems but rather in flux, nervous movement between the certainty of intention and the imperfection of words.Part Two, "World," is a poem in twenty-one movements, an "account" of the relationship between Georgia O'Keeffe and Alfred Stielitz in all of its complex loyalties. "How can I be jealous of a place?" the aged Stieglitz asks his reluctant partner and muse. How her own art and the New Mexico landscape vied for her affections is the story of their pained love. The poems, fragmented and abstract, explore the landscape of their long relationship.Part Three appropriates the language of some of Emerson's famous essays to discuss the American thinker in essential, stripped-down poems.Part Four of "World" consists of prose poems, many of them dialogues reminiscent of short Pinteresque plays. The tension and illogic of human desires are examined in confrontations between two unnamed speakers, often a man and woman. These stark and comic prose poems are the latest of Chernoff's work in this genre, which she has been exploring for nearly thirty years.A strong and varied collection, World is certain to please new readers and reassure those familiar with her work of her consistent project.

Poetry. "Among the Names clicks along, making fast connections, which in turn create a vast and layered network--in short, an economy. Exploring the complexities of "the gift," Chernoff's is an economy of the uncanny. It's a collection that makes things spring to sight"--Cole Swensen. Be sure to check out Maxine Chernoff's other books, including EVOLUTION OF THE BRIDGE, WORLD & SOME OF HER FRIENDS THAT YEAR, all available from SPD.

This anthology concentrates all Marghanita Laski's concerns and commitments, expressed during her years as Assistant Chairman of the Arts Council: that all the arts, but especially poetry, should be accessible. Arranged thematically, this collection includes some of the best-loved and most durable verse, including comic poems, satires and celebrations. It is intended for new readers of poetry and for those who want a catholic refresher.

Review 47th Street Abc Of Culture Adoration Of The Moon Autobiography Battle Report Beyond The Demonic Element Blue Eyes The Bridge Brooklyn Heights: 1 Brooklyn Heights: 2 City City Portrait Cityscape Combat Comment Cry Of The Small Rabbits Cummings Curtains Cynthia Days And Nights Death Of A Grandmother Ditty Domestic Matters The End Feast Of The Ram's Horn For Delmore Schwartz For The Yiddish Singers In The Lakewood Hotels My Childhood For Wcw From A Chinese Master From An Autobiography From Martin Buber The Gift Of Remembering: 1 The Gift Of Remembering: 2 The Gift Of Remembering: 3 The Heart History In The Room The Intensity Interlude Italy, 1944 A Jerusalem Notebook: 1 A Jerusalem Notebook: 10 A Jerusalem Notebook: 11 A Jerusalem Notebook: 12 A Jerusalem Notebook: 13 A Jerusalem Notebook: 14 A Jerusalem Notebook: 15 A Jerusalem Notebook: 2. Postcard A Jerusalem Notebook: 3 A Jerusalem Notebook: 4. Tourists A Jerusalem Notebook: 5 A Jerusalem Notebook: 6 A Jerusalem Notebook: 7 A Jerusalem Notebook: 8. For C. R. A Jerusalem Notebook: 9. The Old Jewish Poet Floats ... July The Kingdom Last Things May 14, 1978 A Message From Rabbi Nachman Middle Class Monday Mountain Fire, Thornbush Muse Poem Musical Shuttle National Cold Storage Company News Of The World The Night Nightsounds A Notebook Notes At 46 Observations The Old Nostalgia Past Time Power In America The Prophet Announces The Realization Riding Westward Riverside Drive Saul's Progress Sister The Six Hundred Thousand Letters Spirit Of Rabbi Nachman Summer Sunday Morning The Synagogue On Kane Street The Talker Through The Boroughs Tides Tight Like That To The Teacher Two Cornell Deaths Vacation Poetry The Way Where I Am Now -- Table of Poems from Poem Finder® Product description Book by Shapiro, Harvey From Publishers Weekly This collection, which consists of new verse as well as selections from Shapiro's previous books, spans over 30 years, and reveals his evolution as artist and observer. An American urban poet with an informal style that is direct and often colloquial, he captures the essence of life in anxiety-ridden, overstimulating New York: "If you walk by the river, Manhattan / is like a book, the pages turn, / the words march down those pages. / Look back to the lights along the river. / Wait for the dark, wait for the city to come on, / windows and bridges blazing, / Whatever you needed was there, wasn't it?" With haunting insistence Shapiro, former editor of the New York Times Book Review , explores his ambivalence, pain and fascination regarding his Jewish lineage, childhood, women and marriage, fatherhood, and mortality: "I was conceived on the night / of my sister's funeral. / . . . This is family history. / What is unclear is my father's role. / Was the night of my sister's funeral / a suitable time for making love? / Did they both think that? / Or was my father excited by my mother's grief? / Though I honor my mother and father, / I want to ask a few more questions." He describes domestic life candidly and with considerable humor and humility, but his words are serious and linger. The length of the poems varies; many are spontaneous snippets of thought, others are longer, carefully crafted and, richer in texture and content, offer more of Shapiro's seasoned insight and tenacity of spirit. Copyright 1988 Reed Business Information, Inc. From Library Journal Meticulous and deceptively simple, Shapiro's poems embody craft and concept. Had William Carlos Williams been Jewish, fought in World War II, and later lived in New York City, he might well have written poems like these. Though Shapiro offers a unique exploration of the American Jewish identity, what stands out in this collection are the love poems: "I believe we came together/ Out of ignorance not love." Shapiro's career in publishing (including editorship of The New York Times Book Review from 1975 to 1983) has overshadowed his poetry, but one comes away from this collection wishing it had inclu

The late Edmond Jabes was a major voice in French poetry in the latter half of this century. An Egyptian Jew, he was haunted by the question of place and the loss of place in relation to writing. He focused on the space of the book, seeing it as the true space in which exile and the promised land meet in poetry and in question. Jabes's mode of expression has been variously described: a new and mysterious kind of literary work - as dazzling as it is difficult to define, cascading aphorisms, a theater of voices in a labyrinth of forms. The manner of his writing embodies the meaning of his writing. Jabes's book is a manifesto not only of his own poetry, but of the most advanced critical poetry written during this century, one in which he engages in dialogue with some of its outstanding philosophers (Blanchot, Levinas, and Derrida).

Landfall is New Zealand's foremost and longest-running arts and literary journal. It showcases new fiction and poetry, as well as biographical and critical essays, reviews and cultural commentary. Landfall 240 also features the winner of the 2020 Landfall Essay Competition as well as judges comments.

Poetry. "Bob Perelman's writing covers a lot of (image) territory as fast as a speeding missile which may (almost) be fast enough. His new book, CAPTIVE AUDIENCE, finds us glued to our seats, laughing at death and the devil again." Rae Armantrout"

"Lines that make me want to have sex on the moon."-Thurston Moore Cɶur de Lion is a book-length epistolary love poem that directly addresses a recently lost "you"--in accessible tones yet with extreme erudition and fierce intellect--but that also directly addresses the work of poetic address, how it shifts when the you shifts from a literal recipient, through loss, to poetry itself: art form, tradition; soul-catching medium. It's libidinal, heartful, hot with the memory of what was libidinal and heartfelt and hot. It's also a cult classic: self-published in 2007 and available now to an audience who will recognize the deep influence it has had on contemporary poets and poetry. " Scathing and meek, furious and thoughtful, reckless and careful, brave and frightened , Cɶur de Lion is something you've never seen before that you already know by heart."-- Daniel Handler aka Lemony Snicket "A book of frank witty poetry that makes me laugh, cry, throw things ."-- Lena Dunham "She is in me now like a hot virus and i am smitten."-- Melissa Broder "In Cɶur de Lion the erotics of power and powerlessness are not opposites--they flirt and morph and clash into a brilliant blast of poetic energy . I saw Ariana read from this book at UC Berkeley, and the walls of the academy rumbled. I fucking love this book ." -- Dodie Bellamy "At the time we thought Cɶur de Lion a more comfortable book than The Cow , for it is, after all, a 'love poem' no matter how perverse, but as I look at it again I'm struck by how fierce its valences are, how intransigent its anti-nationalism. Already I think of Reines' work in art as dividing, like Picasso's, into periods, and if this is the rose period it is also the time in which blood rained down on the peoples' heads. Asked for the history of a certain sort of public sex, I mumble that there was Zabriskie Point , and then there was Peter Hujar, and there was Cɶur de Lion. " -- Kevin Killian

"Hotel Theory" is two books in one: a meditation on the meaning of hotels, and a dime novel ("Hotel Women") featuring Lana Turner and Liberace. Typical of Wayne Koestenbaum' s invigoratingly inventive style, the two books - one fiction, one nonfiction - run concurrently, in twin columns, and the articles " a, " " an, " and " the" never appear. The nonfiction ruminations on hotels are divided into eight dossiers, composed of short takes on the presence of hotels in the author' s dreams as well as in literature, film, and history. Guest stars include everyone from Oscar Wilde to Marilyn Monroe. "Hotel Theory" gives (divided) voice to an aesthetic of hyperaesthesia, of yearning. It is an oblique manifesto, the place where writing disappears. A new mode of theorizing - in fiction, in fragment, through quotation and palimpsest - arises in this dazzling work.

"Eclectic poems wherein the author makes unapologetic leaps from howls of grief and despair to zany incursions into surrealism and the absurd"--