Poems, said Robert Lowell, should be events, not records of events. The poems of Twice Removed are events, set in the "bright between," that place between short days and long shadows, between past and future, between the inviolate self and the public person. In this third collection, Angel writes the arias of our subtext, provoking in the reader the recognition of longings just beyond reach of articulation. And though his poems are addressed to complexity, the language is not obscure: Angel's intense, visionary lyricism arrives in a seamless weave of elegance and streetwise savvy, the cadences somehow hypnotic and urgent at once. This is a poet with the audacity to push the very limits of the American idiom in order to say things that could not previously be said, using sounds not previously heard. Ralph Angel stands as an American original, and Twice Removed is a book that will expand his already large and passionate audience of readers. Ralph Angel is the author of two previous collections of poetry: Neither World , which received the 1995 James Laughlin Award of The Academy of American Poets, and Anxious Latitudes , which was published in the Wesleyan University Press New Poets Series. His work has been collected in numerous anthologies, including The Best American Poetry, New American Poets of the '90s , and Forgotten Language: Contemporary Poets and Nature . His most recent honors include a Pushcart Prize and awards from the Fulbright Foundation, Poetry magazine, and the Fundacion Valparaiso in Spain. Originally from Seattle, Mr. Angel now lives in Los Angeles.

A Bilingual Edition Romanian poet Paul Celan (1920–1970) is celebrated for his late works in German: Breathturn (1967), Threadsuns (1968), and Lightduress (1970, all published by Green Integer). Less known are his writings in Romanian, written before his arrival in Vienna in 1947. The famously melancholic poet characterizes these early years as being touched with euphoria. "Paul Celan… has become the raw material of so much critical processing, it has become difficult to read him without hearing the voices of the commentators. The continual buzzing of the interpretive chorus around Celan’s poetry has nearly added another layer of pain to work that is already written at the synapses of raw nerves. I say 'nearly,' because happily there is Julian Semilian and Sanda Agalidi, who translate the poetry as if there are only two entities in the room: Psyche and Echo. Celan would have been proud to be thus refreshed." — Poet/critic Andrei Codrescu on Romanian Poems

Poetry. The series of poems in Maxine Chernoff's WITHOUT are elegiac brushstrokes, each somewhat feathery and brushing in more than one direction, which creates tension and unexpected arrivals as well as departures: someone or something is missing. Parts of the world are wavering and parts have disappeared. What remains is treated in the subtle management of the lines without a hint of punctuation, which allows for "waves" of attention, as meaning rises and subsides. The emotional impact is powerful, as are the recognitions, such as "when darkness loses / its waiting mirror / and tuning forks / stand in for solace" and "readers asleep / mouthing their dreams / fears of whispering / become a creed / until life blurs / like any lens / that fails at attention." There's a sense of meaning passing with the solidity and darkness of time. "The protagonist of these fifty brilliantly condensed elliptical poems never feels sorry for herself: she knows only too well that 'no currency / buys your / erasure.' And she can even smile at the thought that 'maybe you'll freeze / trying to forget / how things were / before they weren't....' Indeed, one thing Maxine Chernoff is never without is an unfailing tact--a dazzling inventiveness that distances the pain and transforms it into verbal pleasure. As in Emily Dickinson's lyric, 'After great pain a formal feeling comes.'"--Marjorie Perloff

Poetry. "Maxine Chernoff's THE TURNING turns at the moment 'when we survive our disappearances,' 'when murder chastises history,' in other words, right now - when all that's left is the leveled playing field of the page, where graffiti scrawled on a wall is just as likely to carry import as Kristeva or Emerson or 'memory or Memorex.' In stanzas taut as guitar strings - or purse strings pulled tight against the chest - these poems recall a kind of classic Ahkmatovan cry (though they never plangent) combined with a Tsvetaeva-like pluckiness, all of which gets overridden by Chernoff's supreme humanity, ferocity, intelligence, wit, honesty: 'I had thought I knew how the world would end, but all I really know is how to stare and point.' Then the book takes yet another turn, beyond the staring and pointing" - Gillian Conoley.

Poetry. CAMERA is both paean and lament for a world in flux. To render such a world with its unresolvable tensions between time's embodiment and erasure is the focus of the collection. What does it mean to hold many irreconcilable presences? The task is to measure small changes, arrivals and departures. The work is a border between existence and disappearance. Moments named and described are "framed." Though the created world with its emotional truths will not last, it is a topography of words and a realm of heightened scrutiny. To hold and revere its presence is the poem's agency. A world is predicated by representation of nature, seasons, ritual, location, and the arts. Loss looming, love is attention given and the human bond holding writer and reader. "'I lifted to mind a piece of bright blue air, ' wrote Robert Creeley, in a line Maxine Chernoff quotes in CAMERA. It's apt: this is a book full of air and breezes, populated with doves and thrushes, swallows and crows. It's an earthy book, too, where tender roots push through an eroticized earth ('thigh of hill/breast of leaves/belly of witness'). It's never just a book of the body, though, or of the material world: each sharply sensed moment spirals out into history, geography, biology, or grief. It is a book where the world aspires to be voiced, and where words 'send their tendrils toward the next refrain.' CAMERA lifts a world to mind, and holds it there." --Robert Archambeau

Pulitzer Prize-winning poet Louis Simpson (1923-2012) was a leading figure in American letters for more than half a century. Born in Jamaica, the son of a lawyer of Scottish descent and a Russian mother, he emigrated to America at the age of 17. Voices in the Distance was the first selection of his poetry to be published in Britain for over 25 years, drawing on 18 collections, from The Arrivistes (1949) to his final book, Struggling Times, which he published in 2009 at the age of 86. Both timely and personal, Louis Simpson's poetry dramatises his continuing quarrel with suburban America, as well as his concerns about the direction of an American society struggling to retain its integrity in the midst of widespread challenges and worldwide strife. Poetry Book Society Special Commendation.

Compelling collection of poems about Washington, DC featuring 101 contributors, including Kwame Alexander, Essex Hemphill, Linda Pastan, and Eugene McCarthy. This collection celebrates not only DC, but also the tenth anniversary of Beltway Poetry Quarterly, where all of this collection¿s poets have appeared.

"It's a passionate rush of language, hope in a hard time, truth in the middle of lies. This poetry sparks and burns with the hidden language and stories of women" -Minnie Bruce Pratt Judith Arcana, a reproductive rights activist formerly involved in Chicago's pre-Roe v. Wade underground abortion service, imbues her poetry, fiction and essays with the same ferocity, humor and passion that informs her activism. As Grace Paley wrote, "What I love about this important book is how the work Judith began in Chicago years ago has deepened in poetry and prose with love for the lives of women." In light of the leaked 2022 decision regarding Roe, it's more important than ever that we examine and promote reproductive rights and justice. Judith has been a tireless fighter on this front for decades. Hello. This is Jane. was published on the 48th anniversary of her 1972 arrest as one of the "Abortion 7," which directly inspired the pieces in the collection. Hard to believe that 50 years later, we're now in danger of losing the progress she and so many others fought so hard for. Previously Judith tackled the topics in poetry, with What if your mother, first released in 2005. Note that this 2nd edition of the book includes an updated preface. "The title poem ... should be made into a poster and pinned up on the wall in every clinic in the United States." -Peter Bours, MD, longtime abortion provider

This book of later poems includes eleven out-of print books written between 1975 and 1994, as well as 49 unpublished poems."In his later poetry. Joel Oppenheimer moved at once back in time and out in space. His New Spaces are thus our origins". David Landrey"Oppenheimer nurtured the discursive voice in his poems toward a paced deliberation of how he saw people, issues, and actions. His poetry does not rush to action. It moves along slowly, sorting out ways of approaching the center of feelings". Robert Bertholf.The Collected Later Poems contains poems collected in books written between 1975 and 1988. The volume begins with an useful introduction by Robert Bertholf; it contains poems from eleven out-of-print editions, beginning with "The Woman Poems"(1975), and ending with "New Hampshire Journal" (1994). It also contains 49 additional poems written but not published before Oppenheimer's untimely death. Oppenheimer was a master of the "occasional poem", and had a discursive style which encompasses his personal perceptions of life in and about the places where he lived. All readers of modern American poetry who are concerned about the legacy of William Carlos Williams will also recognize the importance of Joel Oppenheimer to the Black Mountain School of Poetry, and the New York School. The book is elegantly designed and includes drawings by John Dobbs, long-time friend of the poet.

"The first English translation of a major work of postwar German poetry. Austrian writer Ilse Aichinger (1921–2016) was a member of the Gruppe 47 writers’ group, which sought to renew German-language literature after World War II. From a wide-ranging literary career that encompassed all genres, Squandered Advice was Aichinger’s sole poetry collection. The book gathers poems written over several decades, yet Aichinger’s poetic voice remains remarkably consistent, frequently addressing us or a third party, often in the imperative, with many poems written in the form of a question. Even though they use free verse throughout, the poems are still tightly structured, often around sounds or repetition, using spare language. Phrases are often fragmentary, torn off, and juxtaposed as if in a collage. Isolated and haunting, the images are at times everyday, at other times surreal, suggesting dreams or memories. The tone ranges from reassuring and gentle to disjointed and disturbing, but the volume was carefully composed by the author into an integral whole, not chronological but following its own poetic logic. This new translation makes Aichinger’s critically acclaimed book, which has inspired poets in the German-speaking world for decades, available to English-language readers for the first time."--Publisher description.

Book of poems by David Lerner. Lerner's three previous books of poetry are I Want a New Gun, Why Rimbaud Went to Africa, and The American Book of the Dead.

"The poems in Daniel Mark Epstein's eighth poetry collection range from the kind of solid and accomplished works for which he is known to astonishing pieces that are near-spiritual encounters. Always an assured poet, Epstein employs inventive rhythms to remarkable effect in these new poems, and it often seems as if the reader is not so much reading the poems as remembering them. And with the discovery each poem brings, there is a "shock of recognition," as though these elusive yet essential ideas have been present all along. The Glass House is an amazing book - wonderful in its evocations of nature, encouraging sometimes, often elegiac and even heartbreaking." --Book Jacket.

Poet Loiterer is D.L. Lang's fifth poetry book. This 180 page collection features nature poems, protest poems, spiritual poems, and story poems. "Lang's themes include wanderlust, love for nature (and especially hiking in the California hills), religious devotion, paying the bills versus living the artist's life, and transforming from a passive pacifist to an activist. "You gave me lungs, / so that I might breathe peace" expresses forthright praise to God in "What You Created," and elsewhere, verse expresses delight in Jewish practice: "There's music and Torah both running through my soul," she observes--a quirky combination that brings to mind a Jewish Janis Joplin. In the satirical "Doves in Season," the traditional peace symbol is being hunted. "Fear not the rocking boat," another poem advises, encouraging readers to question racism, capitalism, and America's reliance on weapons. There's "More than one way to be an American," the poem "Headline Antidote" insists; indeed, this collection imagines a peaceful, joyful future America." -- Kirkus Reviews

Poetry. Book + CD. The poetry in VAGABOND DAWNS evokes images ranging from cyclical rhythms of nature, to the passions and complexities of love, to the timeless spiritual potentialities of the human mind and soul. Professor Doctor Bernfried Nugel, Director of the Centre for Aldous Huxley Studies at the University of Muenster, writes in his Prologue, "The all-encompassing vigor of Kleefeld's individual style does not merely allude to outstanding representatives of the poetic tradition, such as Rimbaud, Pound, Eliot, Kazantzakis and others, but rather incorporates them into poetic tapestries of her own." The book includes a CD of Kleefeld reading a selection of the poems, accompanied by musicians Barry and Shelley Phillips, who have played for Coleman Barks in his readings of Rumi.

Product Description This art booklet combines paintings and poetry to create "a visual chartology of the evolutionary path." It includes ten full color reproductions of Carolyn s art and nine poems. About the Author Born in England, philosopher, poet, author, and visual artist Carolyn Mary Kleefeld grew up in Southern California before studying art and psychology at UCLA. Her innovative artwork and writing has been explored for more than twenty-five years in the fields of human consciousness and creativity. A visionary pioneer, she possesses the rare ability to convey through lyrical language, metaphor, and symbolic image the spiritual potential of human beings. Fueled by a need for creative expression and a lifelong fascination with psychological and spiritual transformation, Ms. Kleefeld has authored three award-winning poetry books that explore these archetypal themes. These books have been studied in university courses internationally and translated into Braille by the Library of Congress. Her book, The Alchemy of Possibility: Reinventing Your Personal Mythology (Merrill-West) inspired by the I Ching, with an introduction by Laura Archera Huxley combines visual art, philosophical prose, and poetry, and includes quotes from the I Ching and Tarot. Healers and professors of art and psychology alike have utilized Alchemy as an inspirational text and oracular guidebook. An interview with Kleefeld can be found in the anthology Mavericks of the Mind: Conversations for the New Millennium (Crossing Press), alongside conversations with Alan Ginsberg, Terence McKenna, Dr. Timothy Leary and other contemporary cutting-edge thinkers. Other works of note include Kissing Darkness: Love Poems and Art, a poetic lovers dialogue written in collaboration with David Wayne Dunn (published in 2003 by Riverwood Books, an imprint of White Cloud Press) and Soul Seeds; Revelations from the Mystery, an inspirational collection of Kleefeld s philosophical maxims (Cross Cultural Communications, 2008). Over the past three decades, she has created an extensive and diverse body of drawings and paintings, ranging in style from romantic-figurative to abstract. In her unique language of poetic imagery, Ms. Kleefeld expresses the passions of the human heart and a pantheistic reverence for the Big Sur wilderness she inhabits. In addition to past features in art magazines and textbooks, her esteemed work can be found in the personal collections of Ted Turner and Laura Archera Huxley, the United Nations, and in hospitals, galleries, and museums around the world.

"Marked by a playful 'cognitive dissidence' and a lyrically and visually explosive mix of pathos, comedy, and wit, Ærotomania: The Book of Lumenations is Karasick's 12th volume of poetry. Through a poetics of politically engaged aesthetic resistance, this work negotiates turbulence, loss, nostalgia and hope, inscribing a prescient 'present' ever-arriving through jubilation and bereavement, in immanence and irruption"--Page 4 of cover.

An ecstatically wrought, never quite post-Covid celebration/trepidation of openings. Inscribing what Levinas might call "espace vital" (the space we can survive), OUVERT OEUVRE: OPENINGS is an ecstatically wrought, never quite post-Covid celebration/trepidation of openings. Written by Adeena Karasick and visualized by Warren Lehrer, the two poems track the pain of openings read through socio-economic, geographic and bodily space. They explore a range of intralingual etymologies of the word opening, laced with post-consumerist and erotic language, theoretical discourse, philosophical and Kabbalistic aphorisms. The poems foreground language as an organism of hope--highlighting the concept of opening as an ever-swirling palimpsest of spectral voices, textures, whispers and codes transported through passion, politics and pleasure as we negotiate loss and light. This book is the first collaboration between poet, performer, cultural theorist and media artist Adeena Karasick, and pioneer designer/author and vis lit practitioner Warren Lehrer. The poems, written by Karasick, speak-sing to re-entering the world after a long period in quarantine. Lehrer choreographs Karasick's words on the stage of the page and through the pages of this volume. His typographic compositions give form to the interior, emotional, metaphorical, historical and performative underpinnings of the poems. Together, the writing and visuals create a new whole that engages the reader to become an active participant in the experience/performance of the poems."A twined virtuosity of mind and ear which leaves the reader deliciously lost in Karasick's signature syllabic labyrinth."--Craig Dworkin"Karasick's poetry jolts and challenges us out of our notion of what poetry is, or could be."--Tablet"In Lehrer's books, words take on thought's very form, bringing sensory experience to the reader as directly as ink on paper can allow." --The New York Times Book ReviewPoetry. Hybrid. Art. Jewish Studies. Women's Studies.

Written during and after the disintegration of Yugoslavia, this book presents a complex vision of the Balkans that flinches from neither brutality nor beauty but honours dignity and courage. The book starts with a tour-de-force, the long poem 'Do vidjenje Danitsé' ('Goodbye Balkan Belle'), and continues with a series of memorial tablets for victims of Jasenovac concentration camp. The book includes a sequence in memory of the Serbian, Yugoslav and Mediterranean poet, Ivan V. Lalic. Under Balkan Light forms the final part of Richard Berengarten's Balkan Trilogy and is published together with the first two parts, The Blue Butterfly and In a Time of Drought. It is also the fifth volume in the Salt series of his Selected Writings. Richard Berengarten used to be known as Richard Burns. With the publication of this book, he now repossesses the family name of his father, the cellist and saxophonist Alexander Berengarten.