The Woman on the Bridge over the Chicago River is Allen Grossman's first collection with New Directions. His voice is astonishingly contemporary, his often dissociated imagery bordering on the surreal--yet one hears in his verse classical and Biblical echoes and, on occasion, darker medieval undertones. The brilliance of his imagination works against a measured eloquence, setting up a fine-edged tension not unlike the prophetic verse of William Blake, the wild dithyrambs of David, or the more controlled metrics of Catullus and Villon.

A series of poems traces the course of a love affair from both the man's and the woman's point of view.

""The echo of the stone/ where I carved the [Buddha's] honorable footprints/ reaches the Heaven, [...]". This book presents the transcription, translation, and analysis of Chinese (753 AD) and Japanese inscriptions (end of the 8th century AD) found on two stones now in the possession of the Yakushiji temple in Nara. All these inscriptions praise the footprints of Buddha, and more exactly their carvings in the stone. The language of the Japanese inscription, which consists of twenty-one poems, reflects the contemporary dialect of Nara. Its writing system shows a quite unique trait, being practically monophonic. The book is richly illustrated by photos of the temple and of the inscriptions"--

The poems in Arguments for Lawn Chairs take multiple positions. The poems in Arguments for Lawn Chairs don't trust your grandmother's cooking. They have visited Pangea, they have visited Toronto and Montreal, the B.C. Gulf Islands, Tiberias, the tailing ponds near Sudbury, and they are still not satisfied, are still unconvinced, still need more proof. They are suckers for dovetailed boxes, winter fire pits, houses that sit not quite true, a rent garbage bag spilling its guts on Queen Street. The poems in Arguments for Lawn Chairs have some choice words for Orpheus, for Eurydice, for Beowulf, fro Dumbledore and Hermione. The poems in Arguments for Lawn Chairs are devoid of hope, but are joyful nonetheless.

For a while after becoming almost completely blind, Peter Levi found it almost impossible to compose verse; but he has recovered his gift, and this book contains the moving lyrics he composed in his head, as well as other poems.

LOVECRAFTIAN HORROR AND WEIRD FICTION FROM RENOWNED AUTHOR W.H. PUGMIREWith his first collection from Dark Regions Press, W. H. Pugmire continues his radical and obsessive reinterpretations of H. P. Lovecraft's brilliant fiction. Among the book's original pieces is the title story, "Gathered Dust," a sequel to J. Vernon Shea's "The Haunter of the Graveyard." Set in Arkham, this tale of utter strangeness concerns the legacy of Randolph Carter and a monstrous burying ground where the phantoms of the past linger so as to feed upon the living. In "Depths of Dreams and Madness" we journey to Pugmire's Sesqua Valley, wherein we find Lovecraft's artist, Richard Upton Pickman and Robert E. Howard's mad poet, Justin Geoffrey, tainted by the valley's supernatural lunacy. With "These Deities of Rarest Air," Pugmire continues his exploration of the prose-poem/vignette sequence, in a work that deliciously evokes the mystic aura of not only Lovecraft but Clark Ashton Smith as we ll. With artful decadence and a pen dipped into the dark fin-de-siècle poetry of Oscar Wilde and Charles Baudelaire, Pugmire celebrates his beloved genre of fantastic fiction with works that only his cracked skull could conceive. Jeffrey Thomas has provided a provocative Introduction."Wilum Hopfrog Pugmire is the prose-poet of the horror/fantasy field; he may be the best prose-poet we have." - S. T. Joshi

"Legends from Vamland is one of the most beautiful stories about human struggle against fear. The author blends together Romanian legends and myths with those of cultures throughout the world. One can hardly find any noble and beautiful human aspiration in all the cultures of the world whose reflection is not to be found in Legends from Vamland. The work is also intended to be one of science fiction, as the author provides the image of the spiritual life of an imaginary people from an imaginary land. The result is a book of splendid originality. One of the first Romanian writers of science fiction, Vladimir Colin was also an important representative of Jewish culture in Romania. Among his most important works of science fiction are Legends from Vamland, a work in many ways similar to J.R.R. Tolkien's The Hobbit. These tales have been abridged and retold for English readers by Luiza Carol. Luiza Carol is associate editor of the international poetry magazine Voices Israel. She is an award-winning writer, poet, and translator and a member of the Federation of Israeli Writers and the Academy of American Poets"--

In Language and Reality , originally published in São Paulo, Brazil, in 1964, Vilém Flusser continues his philosophical and theoretical exploration into language. He begins to postulate that language is not simply a map of the world but also the driving force for projecting worlds and enters then into a feedback with what is projected. Flusser's thesis leads him to claim, in a seemingly missed encounter of a dialogue with Wittgenstein, that language is not limited to its ontological and epistemological aspects but rather is at the service of its aesthetic. Traversing a diverse area of research and ruminations on cybernetics to poetry, music, the visual arts, religion, and mysticism, Language and Reality can be viewed as a vital transitional work in Flusser's emerging thought that will eventually lead to his works in the 1970s and 1980s concerning what we would later consider media theory, design, and digital culture.

I paint with acrylic and oil paint on canvas, I use gold leaf and glazes in many works, I often write poetry to accompany my paintings. I paint many subjects from birds and patriotic art, to marriage equality. Most of the images and ideas I use are taken from real life, the birds that walk around my pond, the fabric of my mother's dress, the wallpaper in her bedroom. I use imagery that I have drawn from memories of growing up in Boston, Lady Liberty, Uncle Sam, weathervanes and antiques, geometrics from the nineteen seventies and eighties, rain running down a pane of glass. The poems I write may be reflective of my artwork or reflective of my life experience. I have exhibited my art in Boston and Vero Beach, Florida for; Art Ark, Dale Sorensen, Vero Beach Museum of Art, The Regina Stark Gallery and President Obama. In 2012 I was asked by the Democratic Party and Forward America to exhibit nine of my paintings for President Obama's election, that exhibit ran for several months here in Vero Beach, Florida, something I am very proud of. I have since created two paintings for President and Mrs. Obama I have spent my life like most people in America, working full time and taking care of my home and family. It wasn't until the year 2011 that I was able to make the commitment to paint and write full time. Three years later, the result of that commitment is "The Art of Thomas Rose." My hope is that "The Art of Thomas Rose" brings enjoyment to the reader and encourages free thought about life and love. We are all beautiful people, deserving of love, respect and understanding. I hope you enjoy my book. As always, peace and love. Tom

Analyzes the works of Canadian Jewish poet A.M. Klein (1909-1972) written in the late 1920s-early 1950s, reading them as a combative poetic response to history. Klein's early poetry in "Hath Not a Jew, " composed against the background of the rise of antisemitism in Europe and in Montreal, his hometown, reveals his deep identification with Jewish tradition and his disillusionment with the humanist inability to confront Nazism. Deeply affected by news of the Holocaust, he wrote his mock epic "The Hitleriad" in 1942, in which he presented Hitler's ugliness, mediocrity, and meanness of spirit. This seems an attempt to demystify Hitler, paralleled perhaps by Arendt's concept of the banality of evil. "The Rocking Chair, " a collection of poems, and the novel "The Second Scroll" represent Klein's attempt to come to terms with the post-Holocaust world. Ch. 4 (pp. 61-80), "The Hitleriad: Against the Silence of the Apocalypse, " appeared in "Studies in American Jewish Literature" 9 (1990).

Poetry. "Norman Fischer's new book is like one of those Baccarat Crystal paperweights, a smooth clear ball of glass containing intricate designs in many brilliant colors. Each design element is individual and isolated, set exactly in place and yet clearly related to the rest, in total silence"--Philip Whalen.

There are many books on counterpoint and harmony, but few indeed on the theory of rhythm. Those few approach it through its graphic notation, or in terms of metrical feet, as if it were poetry. The author treats rhythm instead in the context of sounded music, with a view to clarifying its ambiguous and little studied, but crucial, relationship with pitch. Although his work is strongly influenced by the methods of the German theorist Heinrich Schenker, it is a strikingly original contribution to musical theory in its own right. The author begins by developing analytic procedures for understanding the rhythm of tonal music in terms of pitch levels. He then focuses on certain structures that arise from the interaction of these levels, thereby discovering some fundamental aspects of logical form in the system of musical rhythm. In the course of the inquiry, the author redefines traditional notions of meter, syncopation, and accent. In addition, his study provides a basis for understanding the relationships by which unique rhythmic designs are integrated aesthetically in a cohesive musical composition.

Laura (Riding) Jackson, renounced poetry in mid-life because it hampered the way to something 'further' in language. Divided into 62 numbered sections, this book stands central to her work. It articulates that language needs to be precise and unambiguous, and that human fulfilment should be attainable through truth-speaking.

Anarchism is Not Enough is a manifesto against systematic thinking, a difficult book by a famously difficult writer. For the scope of its critical imagination, it is the most radical work of Laura Riding's early period. This period extends from the end of 1925, when she left America for Europe and Robert Graves, to 1939, the year she returned to America, renounced any further writing of poetry, and soon after married Schuyler Jackson. Published in 1928, when Riding was twenty-seven, Anarchism is a kind of early autobiographia literaria . Long out of print and now available for the first time in paperback, this is one of the most imaginative and daring works of literary theory ever written by a modernist figure. Lisa Samuels's edition sets the work in its historical context and elucidates its central intellectual difficulties. Her introduction and notes are a valuable aid to an understanding of Riding's work.

Gary Barwin and derek beaulieu's seamless collaboration has resulted in frogments from the frag pool: haiku after Basho . This collection of poetry mixes joy with rigour, playfulness with contemplation, and the absurd with pure poetic passion. Barwin and beaulieu have created poetry that is wise, witty, and wry. Filled with translations, responses, remixes, and new takes on Matsuo Basho's famous frog haiku, frogments from the frag pool exuberantly ripples genre,expectation,and meaning. Prepare to be splashed by this pool!

The Tel Aviv Review includes English translations of Hebrew literature; poetry and by non-Israeli Jews; and essays on aspects of Judaism, Israel, and the Middle East. This volume includes works by Yehuda Amichai, Edmond Jabes, Amos Oz, Robert B. Alter, Haim Gouri, Yaakov Shabtai, and Arthur Hertzberg.

This volume is the first attempt to offer a panoramic historical overview of South Asian classical poetry, especially in Sanskrit. Many of the essays in this volume are the first serious studies of the great masterpieces of South Asian literature. Moreover, the book as a whole captures the millennium-long developmental logic of kavya literature by identifying a series of critical moments of breakthrough and innovation-that is, moments when the basic rules of composition and the aesthetic and poetic goals underwent dramatic change, allowing the tradition to reinvent itself. Individual sections thus focus on the beginnings of kavya literature and Kalidasa's creation of what came to be its classical form; the new poetic model that emerged from the intense competition and conversation of Bharavi and Magha in the middle of the first millennium; the extended revolutionary period in Kanauj, where Bana and his successors reconceived the meaning and practice of Sanskrit poetry; and the no less transformative period at the beginning of the second millennium, when poets of genius such as Sriharsa were active in the context of India's nascent vernacularization. The scope of the volume extends beyond Sanskrit to early modern Hindi, and beyond the subcontinent and the Himalayas to Java and Tibet, where kavya found a new home and continued to evolve. A general introduction proposes a theoretical framework for the study of this immense literary tradition in terms of its continuous self-reinvention. --

A beautifully written prose work, Tsing is a multi-layered narrative that combines a wholly fictional novel-within-a-novel with an episodic chronicle of the narrator's present as a traveler to and visiting writer in the United States. Much more than an "ordinary" postmodern text, Tsing is a quiet and moving paean to the narrator's deceased father. Beginning with a series of imagined vignettes involving a father and a daughter, Albahari weaves both real and imagined narrative fragments together with considerable skill. As Albahari's fragments - simple stories about persons approaching each other, spending some time together, and eventually going their separate ways - accumulate, his deft combination of paradox and poetry provides a kaleidoscopic view of memory, love, and loneliness.