A Decade of Negative Thinking brings together writings on contemporary art and culture by the painter and feminist art theorist Mira Schor. Mixing theory and practice, the personal and the political, she tackles questions about the place of feminism in art and political discourse, the aesthetics and values of contemporary painting, and the influence of the market on the creation of art. Schor writes across disciplines and is committed to the fluid interrelationship between a formalist aesthetic, a literary sensibility, and a strongly political viewpoint. Her critical views are expressed with poetry and humor in the accessible language that has been her hallmark, and her perspective is informed by her dual practice as a painter and writer and by her experience as a teacher of art. In essays such as “The ism that dare not speak its name,” “Generation 2.5,” “Like a Veneer,” “Modest Painting,” “Blurring Richter,” and “Trite Tropes, Clichés, or the Persistence of Styles,” Schor considers how artists relate to and represent the past and how the art market influences their choices: whether or not to disavow a social movement, to explicitly compare their work to that of a canonical artist, or to take up an exhausted style. She places her writings in the rich transitory space between the near past and the “nextmodern.” Witty, brave, rigorous, and heartfelt, Schor’s essays are impassioned reflections on art, politics, and criticism.

"In Where Art Belongs, Chris Kraus examines artistic enterprises of the past decade that reclaim the use of lived time as a material in the creation of visual art. In four interlinked essays, Kraus expands the argument begun in her earlier book Video Green that 'the art world is interesting only insofar as it reflects the larger world outside it.' Moving from New York to Berlin to Los Angeles to the Pueblo Nuevo barrio of Mexicali, Kraus addresses such subjects as the ubiquity of video, the legacy of the 1960s Amsterdam underground newspaper Suck, and the activities of the New York art collective Bernadette Corporation. She examines the uses of boredom, poetry, privatized prisons, community art, corporate philanthropy, vertically integrated manufacturing, and discarded utopias, revealing the surprising persistence of microcultures within the matrix"--Publisher's description.

This volume collects all of Fay Zwicky's poetry, including previously uncollected and unpublished poems. It reveals an erudite, passionate, and highly inventive poet, whose consummate control of her craft places her at the summit of Australian poetry.

As a tribute anthology, Climbing Lightly Through Forests gathers multiple conversations: the poets are responding to Ursula K. Le Guin, her work, or their own responses to her or her work; and as editors, Lemberg and Bradley put the poets in conversation with each other and with the readers. This anthology is enriched by the work of poets from all over the world: Greece, Uruguay, Spain, Trinidad and Tobago, Chile, the UK, Australia, and Canada, in addition to the United States.

"This collection gathers most of Hélène Cixous' texts devoted to contemporary artists, such as the painter Nancy Spero, the photographer Andres Serrano, the visual artist Roni Horn, the fashion designer Sonia Rykiel and the choreographer Karine Saporta, among others. The artworks belong to different genres and media - photography, painting, installations, film, choreography and fashion design - while the commentaries all deal with some of Hélène Cixous' privileged themes: exile, war, violence (against women) and exclusion, as well as love, memory, beauty and tenderness.

Gathering 25 years work by one of America's most elegant and pertinent poets, this title contains work from eight books, including an excerpt from the erotic verse novel 'Love, Death and the Changing of the Seasons', and a work written in the shadow of hegemonic empire.

This is the new poetry book by one of Australia's foremost poets and winner of the 2005 Patrick White Literary Award. The author's poems are philosophical meditations based on her own memories and experiences and in this collection she engages closely with.

After the 1993 Oslo Accords people across the world anticipated the onset of peace and an end to the Palestinian-Israeli conflict. For Israelis, the Accords generated massive economic growth and a sense of security. For Palestinians in the West Bank and the Gaza Strip, they led to a dramatic rise in poverty and unemployment due to a complex array of closures, militarized checkpoints, and bypass roads, and a vast expansion of the settlement project that fractured Palestinian territories and communities. In 2000 popular Palestinian rage with the new shape of the Israeli occupation erupted in a second uprising or intifada. In this volume, prominent scholars and journalists examine the dramatic political changes in Palestine and Israel from the Oslo Accords through the second intifada and the death of Yasser Arafat. Their essays address the political economy of the Oslo process, social and political changes in Palestine and Israel, United States foreign policy, social movements and political activism, and the interplay between cultural and political-economic processes. The volume also includes documents, maps, poetry, and graphic art.

Poetry. With a voice as familiar as family, Rachel B. Glaser's second book of poems, HAIRDO, hilariously navigates the daily anxieties and fantasies of the writer's path through her own modern life. Writing through action movies, pornography, chat rooms, photo shoots on train tracks, crushes on teachers, and orchids in grocery stores, the poems in this book present us with emotional souvenirs of a curious and honest life lived. Bursting with Glaser's truly unique heart, her mega-watt wit and insightful eye, HAIRDO is a book you will find yourself reading at 3AM, not able to put it down. "I love every single piece of art that Rachel Glaser makes. If she dug a hole I would want to spend time in that hole, because I know it would be just as strange, delightful, and intriguing as her linguistic and pictorial creations. Hooray for HAIRDO, and long live this incomparable maker." -- Heather Christle "Rachel Glaser has shown me the paradise of this world with her poems. Every man, woman and the rest of us need to see ourselves as one another, as puddles, horses, as imperfect, and that is the paradise. And all of that is especially here in her newest book with a tremendous passion anyone who ever loved poetry must come back to life to read. If poetry is dead like some sad, weepy critics have declared, then Glaser is the resurrection the weepy along with her dedicated poetry citizens have needed " --CAConrad

Poetry. Edited by Irene Gammel and Suzanne Zelazo. Florine Stettheimer (1871-1944) was an American modernist of German-Jewish heritage living in New York. She was a painter, designer, and poet. Together with her sisters Ettie and Carrie, Stettheimer hosted a legendary salon on the Upper West Side, where they entertained the likes of Marcel Duchamp, Carl Van Vechten, Henri McBride, and Georgia O'Keeffe. In 1934 Stettheimer designed the set and costumes for Gertrude Stein's opera Four Saints in Three Acts to much acclaim. In 1949, Ettie collected Florine's poems in CRYSTAL FLOWERS, a privately printed, elegant edition of 250. In addition to these rare poems, this new volume offers formerly unpublished material culled from archives, including three new poems and Stettheimer's libretto for her ballet "Orphee of the Quat-z-arts." Gammel and Zelazo have re-situated this overlooked poet among her modernist sisters, presenting her as an important practitioner of a modernism that integrates multiple art forms. Sixty years after it first appeared for a select few, her poetry shines for a new generation of readers ready to appreciate her irreverent camp aesthetic and her exuberant painterly style.

James Lasdun's new book of poems, his first since his acclaimed collection Landscape with Chainsaw , applies his characteristic blend of the celebratory and the elegiac to a rich variety of new themes and old obsessions. At once personal and political, Water Sessions brilliantly registers the shock waves of global tumult in the most intimately domestic of settings, while at the same time constantly feeling its way outward through private experience into the larger arenas of social and civic drama. Fathers and sons, men and women, desire and repression, art and silence, form the book's central polarities. Recurrent motifs of water and gardens give its wide-ranging subjects a satisfying coherence while also supplying its sometimes darkly urgent poems with a note of intense lyrical beauty. Much praised for the wit and tensile strength of his line, Lasdun moves in this volume from the tight formality of 'Stones' through the highly original patient/therapist dialogue form of the title poem, to the exuberant free verse of 'Dog Days', with a versatility and intelligence that ensure his standing as one of the most gifted poets writing today.

Poetry. Rachel Tzvia Back's third full-length book of poems, A MESSENGER COMES is a harrowing book that takes the reader to the edge of grief. As Hank Lazer's writes, while Back's book is "beautifully rich and emotionally engaging, this is no simple book of consolation. In its steadfast beauty, it is a book of questions: can grief be sustained? What can we learn from the grief of another? Thus this is a messenger we will want and need to welcome time and again."

"A volume of poetry in which the author confronts God, the perpetrators of the Holocaust, and the bystanders to the genocide in which six million Jews were murdered. Menachem Rosensaft also reflects on other genocides, physical separation during the COVID-19 pandemic, and why Black lives matter, among other themes that inspire the reader to make the ghosts of the past an integral part of their present and future"--

Erica Jong is a celebrated poet, novelist & essayist with over twenty-five published books that have been influential all over the world. Her most popular novel, Fear of Flying, celebrated its 40th anniversary in 2013. Never out of print, it has sold over thirty-five million copies translated into over forty-five languages including Chinese and Arabic. Erica?s latest novel, Fear of Dying, was published in 2015/2016 with many publishers all over the world. Her awards include the Fernanda Pivano Award for Literature in Italy (named for the critic who introduced Ernest Hemingway, Allen Ginsberg, and Erica Jong to the Italian public), the Sigmund Freud Award in Italy, the Deauville Literary Award in France, the United Nations Award for Excellence in Literature, and Poetry magazine?s Bess Hokin Prize (also won by Sylvia Plath and W.S. Merwin). Erica?s poetry has appeared in publications worldwide, including the New Yorker, the LA Times, the Paris Review, Haaretz, and many more. Erica lives in New York and Connecticut with her husband and two poodles.

"The book of Anna is written in the voice of Anna Asher, a fictional Czech-German Jew who spent her adolescence in a concentration camp and now lives in 1950s Prague answering phones for the secret police. This genre-defying book of prose diary entries and autobiographical poems offers intimate glimpses of Anna's present--her writing process, relationships with neighbors, obsessive sexual behavior, chain-smoking, and idiosyncratic exploration of Jewish tradition--while the poems recount her unsparing efforts to reckon with horror, survival, and their aftermath. Written in the midst of Joy Ladin's gender transition, this book asks provocative questions about the meaning of trauma, gender, suffering and empathy that speak to our current historical moment in haunting and indelible ways"--

When she died, in 2009, Anthony Thwaite described U.A. Fanthorpe as a 'smiling subversive with a voice like bird-song'. An encouraging example to all late developers, this particular bird's voice took its time: she didn't become a poet until she was 45. But these examples of her very earliest work show the latent mastery and the rapid development of the craft that would bring her wide critical acclaim and an affectionate general readership. The mysteries of the trade gradually reveal themselves as rooted in a wide and uncensored range of subject-matter, a life-time's love of words, and an intuitive grasp of the mechanics of form and voice. Recognising her role so late, she was a woman in a hurry; there wasn't time for self-consciousness or grandiose notions of 'vocation'. 'A poet, ' she said, 'is a smuggler. He imports things clandestinely which are not supposed to have got through the customs.' Poetry 'happened to me', she would say. Her job? To listen, to pass it on.

Lisa Richter's Closer to Where We Began is a diverse collection of poetry that follows the speaker on a path of self-discovery. The collection navigates the tension between memory and imagination, between the personal and the political, and the primacy of sensual, sensory, lived experience. These dream-like poems not only concern themselves with the speaker, but with urban and natural environments, friends, family, and lovers, past and present. The poet explores overlapping/intersecting identities that shape and inform us, celebrating the importance of telling our stories as a means of bringing us closer to our authentic selves.