extremely rare,very good condition

1998 Houghton Mifflin hardcover, David Leavitt (The Two Hotel A Novel). A young man wants nothing more than to play piano and an affair with a prominent piano player changes his life forever

Contains meditations on love, war, self and community, life and death, and the earth, in a volume that includes twenty-six new poems.

The imagination in David Biespiel's Shatterin Air is as luminous as the hear is generous.--Stanley Plumly

A collection of poems by David Bergman that deal with relationships, art, religion, myth, and family.

A voice, breath, and scope, that might be likened to Allen Ginsberg. --American Book Review.

.In a time of spiritual decadence, still another poet has injured us with the visions of possibility. Here is a rare wedding of poetic prose, philosophy and psychological awareness without the wooden self-consciousness of most modern psychological writing. A human document. It touches the deepest places. .Informs and potentially heals its readers by communicating with love, a sense of what underlines the particulars of their lives. This book will live. -CARL A. FABER Ph.D. Psychologist, Lecturer, Author

A collection of short humorous poems in the nursery rhyme tradition.

Hospital Series, a bruisingly intimate colloquy with an elusive lover, is Italian poet Amelia Rosselli's virtuoso, subversive, neo-Petrarchan sequence of poems. Rosselli wrote much of the series in the mid 1960s after being hospitalized for a mental illness she suffered from for most of her life, and whose pain shapes her language and difficult vision. These explosive poems, a furious cacophonic crescendo of semantic and syntactic accumulations deeply admired by Pier Paolo Pasolini, place Rosselli among the greatest writers of her generation.

Plutonian Title poem combines scientific info on 24,000-year cycle of the Great Year compared with equal half-life of Plutonium waste, accounting Homeric formula for appeasing underground millionaire Pluto Lord of Death, jack in the gnostic box of Aeons, and Adamantine Truth of ordinary mind inspiration, unhexing nuclear ministry of fear. Following poems chronologies Wyoming grass blues, a punk-rock sonnet, personal grave musing, Manhattan landscape hypertension, lovelorn heart thumps, mantric rhymes, Neruda’s tearful Lincoln ode retranslated to U.S. vernacular oratory, Nagasaki Bomb anniversary haikus, Zen Bluegrass raunch, free verse demystification of sacred fame, Reznikoffian filial epiphanies, hot pants Skeltonic doggerel, a Kerouackian New Year’s eve ditty, professional homework, New Jersey quatrains, scarecrow haiku, improvised dice roll for high school kids, English rock-and-roll sophistications, an old love glimpse, little German movies, old queen conclusions, a tender renaissance song, ode to hero-flop, Peace protest prophecies, Lower East Side snapshots, national flashed in the Buddhafields, Sapphic stanzas in quantitative idiom, look out at the bedroom window, feverish birdbrain verses from Eastern Europe for chanting with electric bands, Beethovinean ear strophes drowned in rain, a glance at Cloud Castle, poems 1977-1980 end with International new wave hit lyric Capitol Air

Half a century after "founding" the Beat Generation, Allen Ginsberg has written this powerful collection of poems that are suffused with a range of emotional colors that gives Ginsberg's work an elegiac tone.

“… the shadows of death are the spices of love, and eternal life would be the school of absolute coldness. We love a being that the morrows threaten, and love her all the more as she is more threatened….” Albert Caraco was born in 1919 in Constantinople in a Jewish family established in Turkey for four centuries. He grew up in Prague, Berlin, and Paris, where he attended Janson-de-Sailly high school, and got his degree from the École des Hautes Études Commerciales. In 1939, he and his parents fled Europe to South America at the break of World War II, and settled in Montevideo after living in Brazil and Argentina, where his first books were published. Albert Caraco acquired Uruguayan citizenship and retained it for the rest of his life. Back in Paris in 1949, he started writing his immense body of work, part of which remains unpublished to this day. An ambiguous figure, Albert Caraco built nothing short of a baroque literary cathedral, rife with contradictions, yet rising from an uncompromisingly pessimistic foundation. In 1971, consistent with what he had announced recurrently in his semainiers (weekly diaries), he killed himself just a few hours after his father died. The death of his mother in 1963 was the occasion for a reckoning of his relationship with the woman he reproached for having given him birth, while praising her for forming his taste and character and uprooting the sheer possibility of consoling illusions in her only son. The result was Post Mortem, a bittersweet lament and a love poem in prose that offers a glimpse into his bleak worldview and an abstract of his works.

This Poem is an ironic investigation of contemporary culture and the technomediatic-saturated world we are enmeshed in. Composed in the style of Facebook updates and extended tweets, each section infuses itself with continuously shifting tones, styles, and commentary which in turn are provocative, emotive, and deeply satiric. Mashing up lexicons of Stein, Zukofsky, Shakespeare, Whitman, the recent financial meltdown, semiotic theory, Lady Gaga, Derrida, and Flickr streams, This Poem is a self-reflexive romp through shards and fragments of post-consumerist culture.

In his second collection of poems, Adam Kirsch examines the world we live in now, a world in which the dangers of history have invaded the pleasures of private life. His connected poems use traditional forms to create a free, contemporary music amidst the omens of the post-September 11 world. Mr. Kirsch is at home with all the strange juxtapositions of our culture: he can celebrate "the paradisal sighs" of Jane Birkin and still hear the "angelic harmonies" of Handel's Messiah; he can observe military jets trailing "stripes of smoke" and find the quiet of a synagogue in Queens. Invasions is a moving and highly personal collection, Mr. Kirsch's exploration of what he calls, with fear and hope, "the magically real."

These 66 poems, here in English and Yiddish on facing pages, were collected in the first book Abraham Joshua Heschel ever published. They appeared in Warsaw in 1933 when Heschel was 26 years old and still a doctoral candidate in philosophy at the University of Berlin. Written between 1927 and 1933—and never published in English before—this is the intimate spiritual diary of a devout European Jew, loyal to the revelation at Sinai and afflicted with reverence for all human beings. These poems sound themes that will resonate throughout Heschel's later popular writings: human holiness, a passion for truth, awe and wonder before nature, God's quest for righteousness, solidarity with the downtrodden, and unwavering commitment to tikkun olam. In these poems we also discover a young man's acute loneliness, dismay at God's distance, and dreams of spiritual and sensual intimacy with a woman.

Language writing, the most controversial avant-garde movement in contemporary American poetry, appeals strongly to writers and readers interested in the politics of postmodernism and in iconoclastic poetic form. Drawing on materials from popular culture, avoiding the standard stylistic indications of poetic lyricism, and using nonsequential sentences are some of the ways in which language writers make poetry a more open and participatory process for the readers. Reading this kind of writing, however, may not come easily in a culture where poetry is treated as property of a special class. It is this barrier that Bob Perelman seeks to break down in this fascinating and comprehensive account of the language writing movement. A leading language writer himself, Perelman offers insights into the history of the movement and discusses the political and theoretical implications of the writing. He provides detailed readings of work by Lyn Hejinian, Ron Silliman, and Charles Bernstein, among many others, and compares it to a wide range of other contemporary and modern American poetry. A variety of issues are addressed in the following chapters: "The Marginalization of Poetry," "Language Writing and Literary History," "Here and Now on Paper," "Parataxis and Narrative: The New Sentence in Theory and Practice," "Write the Power," "Building a More Powerful Vocabulary: Bruce Andrews and the World (Trade Center)," "This Page Is My Page, This Page Is Your Page: Gender and Mapping," "An Alphabet of Literary Criticism," and "A False Account of Talking with Frank O'Hara and Roland Barthes in Philadelphia."

Eric W. Vogt is striving to return to the primitive rule of scholarship, which stresses canonicity, esthetic and humanistic values, historical grounding, and adherence to text. Eric W. Vogt’s Critical Introduction places Saint Teresa’s work in the political, historical, and religious context of Golden Age Spain, where faith permeated every aspect of life. He humanizes his subject by stressing her earthiness— for example, her fondness for music and cooking—as well as her political savvy and sincere affection for her fellow nuns. Eric W. Vogt explores the major literary influences on Saint Teresa’s work, including the chivalric novels she so loved as a girl. These, along with the works of Loyola, inspired her use of military images and her notion of life as a form of spiritual warfare against the World. Saint Teresa’s versions a lo divino of profane love poetry evince the influence of Courtly Love on her poetic compositions, in which God and the soul are sometimes depicted as lovers. Among the pious books that Eric W. Vogt examines are Saint Ignatius’s Spiritual Exercises and Thomas A. Kempis’s The Imitation of Christ. He also mentions Jerome’s Letters, Augustine’s Confessions, and a number of other works. Of course, the Bible was also an important influence on Saint Teresa’s writing, and Eric W. Vogt points out in his extensive notes instances of biblical intertextuality. Eric W. Vogt shows clearly that Saint Teresa was an intellectual, in spite of her protests to the contrary. He does succeed in capturing the flow and tone of Saint Teresa’s verse and the passion of her voice. Eric W. Vogt has produced a highly readable translation of Teresa de Avila’s poetry that will be enjoyed by scholars and non-scholars alike'. --Bárbara Mújica (Georgetown University, USA)