Haiku poems by Harold Garde.

" J'entendais ; vos amis m'ont trait� sous vos yeuxDe po�te sans gloire et d'homme sans a�eux.C'est vrai, je ne suis rien ; mais, n� parmi les rustres,J'ai senti, j'ai souffert comme les plus illustres.Demain, de vos amis qui donc se souviendra ?Tous ces gens-l� feront, quand la mort les prendra,Des cr�nes inconnus et des cendres vulgaires.Je compterai plus tard, si je ne compte gu�res.Passent les mauvais jours de honte et de rancoeur !...J'aurai peut-�tre un nom dans l'histoire du coeur."

John G. Paton was an evangelist for Jesus Christ among the South Sea cannibals. Since beginning Vision Forum, we have made it our goal to urge fathers to turn their hearts to home and to rise up with courage to address the issues of the age. When I share this message before an audience, I usually begin by quoting at length an autobiographical account, penned by John G. Paton in the 19th century, describing how his father's love and training prepared him to endure bitter hardship, to persevere against unspeakably difficult circumstances, and to resist sin. This may be the most important narrative of missionary work you will ever read. The book touched me on the deepest level and has become an important part of my life and personal vision. We have republished it because it contains the finest testimony of multi-generational love and devotion between a father and son that I have ever read outside the Scriptures. Paton, a descendant of the Scottish Covenanters, was able to love and lead to Christ the very people who tried to eat his wife and child. One of the most important books you will ever read to your children. An Autobiography.

Book annotation not available for this title.Title: GuillevicAuthor: Levertov, Denice (EDT)Publisher: W W Norton & Co IncPublication Date: 1969/10/01Number of Pages: Binding Type: HARDCOVERLibrary of Congress: 74088726"

From handling of the chessmen you infer the secret springs of human character. To pluck the enemy chessman between your fingers and replace it with your own reveals the cultivated, well-bred killer who cannot stand the sight of blood; knock the chessman over with a small click of wood on wood tells of an aesthetic craving for the fatal instrument, of one more passionate than violent; to push the piece from its intended square is signal of aggressive character and plainly indicates that power is the motive for committing murder; some will hold the captured piece and caress it nervously: these kill from cowardice; those who seem apologetic, taking pawns reluctantly, kill for noble reasons; and he who clears the board with one great sweep of his hand will kill from lack of hope, defeated by the prospect of defeat, as did my father only death could mate.

"My Hollywood and Other Poems is a collection of lyric meditations on the experience of émigrés in Los Angeles. In forms ranging from ballades to villanelles to Onegin sonnets, the poems pursue the sublime in a tarnished landscape, seek continuity and mourn its loss in a town where change is the only constant. My Hollywood draws on the poet's own life as a Jewish immigrant from the Soviet Union, honors the vanishing traces of the city's past, and, in crisp and evocative translations, summons the voices of five Russian poets who spent their final years in LA, including the composer Vernon Duke"--

Book by Lyons, Bonnie

Even as it waltzes with irony and a keen sense of loss, Bonnie Lyon's welcome first collection invites us to relax, to leave the cacophonies of our harassed lives, to notice the ordinary as exemplified by the dull brown moth in Backward Look that flings open his raincoat / and flashes his jewels. Infused with an earned wisdom that remains as playful as her three sage Airedales who travel the earth / with a quivering nose, Lyons' poems resoundingly answer God's question Where are you? in their joyous affirmation of the present moment, here, and right now. --Wendy Barker.

Aram Saroyan's "minimal" poems of the 1960s demonstrated a completely unprecedented handling of words--often single words--that combined astounding economy with palpable textural warmth. Untitled poems that read in their entirety "eyeye" and "lobstee" evinced a pleasure in words that everybody could recognize--except Senator Jesse Helms, who publicly objected to Saroyan's poem "lighght" when its author received an NEA award--but which nobody else (except perhaps Gertrude Stein) had quite nailed until Aram Saroyan came along. In every one of Saroyan's page acts, the sound of typewriter keys inscribing blank paper are as audible to the mind's ear as the words themselves. Coffee Coffee was published as a mimeograph edition by Vito Acconci and Bernadette Mayer's 0 To 9 imprint in 1967, and was one of Saroyan's earliest collections, containing such gems as "guarantee," "added" and "rinse." Acconci has since recorded his admiration for these works: "In the late sixties, when I called myself a poet, Aram was the poet I envied."

Amy Levy (1861-1889) was a British poet and novelist. Levy was born in Clapham, London into a Jewish family that was mildly observant, but as an adult she no longer practised Judaism although she continued to identify with the Jews as a people. Levy wrote stories, essays and poems for periodicals, some popular and others literary. The stories Cohen of Trinity and Wise in Their Generation, both published in Oscar Wilde's magazine Women's World, are among her best. Her final book of poems, A London Plane-Tree and Other Verse (1889), contains lyrics that are among the first to show the influence of French symbolism. Her other works include Xantippe and Other Verse (1881), The Romance of a Shop (1888), Reuben Sachs (1888) and Miss Meredith (1889).

More blest than was of old Diogenes,I have not held my lantern up in vain.Not mine, at least, this evil--to complain:"There is none honest among all of these."Our hopes go down that sailed before the breeze;Our creeds upon the rock are rent in twain;Something it is, if at the last remainOne floating spar cast up by hungry seas.The secret of our being, who can tell?To praise the gods and Fate is not my part;Evil I see, and pain; within my heartThere is no voice that whispers: "All is well."Yet fair are days in summer; and more fairThe growths of human goodness here and there.

Allen Mandelbaum's long-awaited Savantasse of Montparnasse is a work of wonder, wit, and exhilarating originality. Of Mandelbaum's previous long poem, Chelmaxioms: The Maxims, Axioms, Maxioms of Chelm, James Wright said: ''A beautiful book: original, learned, comic in a way that only a master of many languages (like Joyce) can be comic, often lyrically lovely, and, finally, hauntingly sad. . . . I found myself startled by the extremely dense richness of its learning, only to discover, strategically placed, lyric poems of surpassing simplicity and beauty. So one might grasp the structure of the book as a rhythmical alternation between these two uses of language. Furthermore, one may read the book as a parody of extreme learning--a very deliberate parody--which is, at the same rime, a wonderful display of learning. But no matter how one approaches the book, one is always haunted by the city of Chelm and its inhabitants . . . in one sense a city literally constructed out of language, in another sense . . . a place created and transformed by the poet's imagination into a very specific, concrete town. . . . A marvelously original work . . . an important event." And now, with The Savantasse of Montparnasse, Mandelbaum has gifted us with another unforgettable volume.

The Wayward is an exploration into virtual life and theory. It uses tools from codework to traditional genre; much of its work is the result of programming intended to create systems of circulating texts. Think of The Wayward as a poetics of the imaginary, stumbling over the grounds of the real – constantly questioning linguistic referents and ‘meaning in general.’ The work is a ground-breaking exploration of the roots and structures of online and offline life, in which language simultaneously explodes and implodes. Conversations among ‘emanents’ dominate inconceivable landscapes; sexualities are constructed and deconstructed. There’s not another work like it.

Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy's production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo - not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of "roiling" within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings - writing shored up by the very mechanisms that threaten its disappearance. Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte. Alan Sondheim is a new media artist, theorist, and writer concerned with the phenomenology of the virtual. He has collaborated with motion capture and virtual environment labs. His work is concerned with the inhabitation of the body in the virtual; with the textuality of the body; with the problematic of mixed reality and codework. His writing is known for its "somatic grit" and skeletal codes that partially appear within and determine the surface. This style embeds interferences among syntax, semantics, and formal systems. The textual body, body of text and writer, are deeply entangled. His current work is based on the psychogeography of real and virtual worlds and their modeling. Most recently he has focused on "semantic ghosting" - the body behind the virtual/symbolic body - and modes of viral dispersion in a series of videos and texts. Sondheim was born in Wilkes-Barre, Pennsylvania, attended Brown University, and has exhibited, taught, and lectured at a number of venues in the United States and abroad.