Emoticoncert follows intensities and absences across different bodies and scales. Broken up into musical "movements," each section serves as its own composition. As a whole, the book works as a concert of intensities associated with loss, nationalism, and the slippery boundary between human and animal. Moving across both real and dreamed terrains, Emoticoncert is a dislocated kind of traveling linked by a sense of musicality and a desire to record the intensities that arise in the author's entanglements with things both present and gone.

"From a marketplace in Bangkok to the fields of New Hampshire, from recollections of her own childhood to celebrations of an infant grandson, Kumin stakes her far-flung claims with authority in her tenth book of poetry."--Publishers Weekly

A native of Crimea, the Soviet Jewish poet Ilya Selvinskii (1899-1968), in 1942-43, bore witness to Nazi atrocities in and near the city of Kerch (in eastern Crimea) and in the south of Russia. This included the massacre at the "Bagerovo ditch", an anti-tank ditch west of the city, where the Nazis murdered ca. 7,000 Jews of Kerch in November 1941. What he saw impressed Selvinskii for the rest of his life. He was the first Soviet poet to publish extensively on the Holocaust, most notably his two poems "I Saw It" (1942) and "Kerch" (1945). In general, he somewhat downplayed the fact that the victims were Jews, as did Ehrenburg and other contemporary poets who wrote on the Nazi mass murders. Selvinskii's shock of viewing the Bagerovo ditch was also reflected in his postwar poems, in particular in "Kandava", the first version of which was published in 1946. Selvinskii influenced many other poets who wrote on the Nazi genocide, among them Iosif Utkin and Lev Ozerov. After the war Selvinskii was accused of "cosmopolitanism" and holding an "anti-party line"; he was partially blacklisted. Pp. 263-277 contain the Russian originals and English translations of "I Saw It" and "Kerch".

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Chicago poet Coval, an HBO Def Poet, grapples with questions of identity and compassion. He writes of latchkeys marooned in front the television at home and menaced by violence at school. Assessing his own Jewish heritage in Pieces of Shalom, he wants to turn my mind on the divine/without historical frustration. Vehemently condemning hypocrisy, Coval echoes Allen Ginsberg in his spiritual revolt, cosmic vision, and longing for multicultural transcendence. In boldly beautiful and outspoken hip-hop manifestos, he forges links among all Diaspora people, citing Dick Gregory and Lenny Bruce, picturing Jack Robinson breaking the color line on the first night of Passover in 1947, and recognizing that davening worshippers in a synagogue are experiencing the same energy and ecstasy he experiences when enthralled by hip-hop. Potent metaphors, muscular turns of phrase, a keen political conscience, and a Studs Terkelesque openness to humankind's countless stories fuel Coval's percussive calls for compassion and connection. Accompanied by a CD and graced with cover art by the incomparable Tony Fitzpatrick, this is one potent and positive debut. --Donna Seaman, Copyright 2006 Booklist.

"A chapbook-size collection of poems written in the voices of high school students talking (and arguing) about immigration."--Author's website, viewed November 21, 2019: http://www.juditharcana.com/home

"Spare and understated gems."-- Small Press

Paraphernalia' is a fine, capacious handbag/hold-all of a word. Practical as well as attractive, it can stretch to accommodate all kinds of contents, many of which Joanne Limburg pulls out and considers in "Paraphernalia": telephones and tin-openers, vacuum cleaners and breast pumps, needles and drips, alarms and scanners. There are objects that help us and encumber us, that we lean and hide behind, that we love and treasure, or punish and blame. Joanne Limburg's poems look at the ways in which our bodies and minds, too, can themselves be broken down into odds and ends, can be useful or useless clutter. She examines our different parts, our skin and hair, our faces, our brains and blood cells, our thoughts and our words.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This Is A New Release Of The Original 1883 Edition.

Redemptive Memory reveals the pattern of a life lived passionately and examined deeply. Its themes are love, that draws the poet to the world; anger, that rages against disappointment; and song, that joins feeling and thought in the redemptive promise of form. These poems arise from experience and evoke unnamed others through many modes of address: interrogative, imperative, suppliant. Yet in their use of allegory and parable, and their generalizing thrust, they reach beyond the individual life, discovering laws of conscience and commitment that might guide another life. The body's joys and losses, the ego's rage against betrayal and death, language's "acrobatic" enchantments, the sand and water of the mutable world we act in-all fi nd their enduring music here. The poems have the majesty of Yeats, the intellectual ambition of Eliot, the humanity of Stevens, pressing back against the pressure of reality. The phrasing in these poems displays an intelligence that reveres mystery: "all my solaces turn ashes in your seeking"; "the snowman kneels into sleep"; "the heel of space stamping/the changes of what I feel." The compelling rhymes shape an ethical awareness: "sober judges on the stormy roof/ you tell every man to come home from his youth." And the rhythms are designed to body forth their arguments: Carve your substance in the furnace of form; the wall of the word grows stronger than harm In these masterful poems, some braced against harm, others whispering in the silence or just swinging in glee, the imagination is satisfi ed and memory is indeed made redemptive. Bonnie Costello, Boston University

First printing. "First edition" appears on the title page with no indication of a later printing. The pages are clean and unmarked. The binding/spine is tight and straight. The corners are sharp/unbumped. Unfortunately age or production paste deterioration have caused the spine and the board edges near it to appear stained or foxed. Similar discoloration appears along the near-spine edges of the pastedowns and front endpapers. The top text block is foxed. The jacket is in "good" condition. The bends are age discolored. There are some small abrasions along the spine, and there are three tears along the bottom edge, the longest two of which are about an inch long. There is light residue from a price sticker that was removed from the front flap where the original price of $3.50 appears.