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.

The Objectivist Press published George Oppen's first book Discrete Series, a collection of thirty-one short poems with a preface by Ezra Pound, in 1934. Four years earlier, the twenty-one-year-old poet had sent an unbound sheaf of typewritten poems with the title 21 Poems hand-written in pencil on the first page to the poet Louis Zukofsky, who forwarded them on to Pound in Paris. These poems, suffused with Oppen's love for his young bride Mary, as well as his love of sailing, are strikingly different from what they'd eventually become in Discrete Series. The scholar David B. Hobbs recently found 21 Poems buried in Ezra Pound's papers at Yale's Beinecke Library, and they appear here as a collection of their own for the first time.

"Cultural Slag is a collection of light verse, prose pieces and black-humor drawings by the creators of Scrap Irony, a collaboration hailed by the New York Times as an "uncommonplace book of bright verse and lively prose." Laughing over the absurdities of our times, Miss Lamport takes us from New York statues to foreign ruins, from Broadway abysses to transportation traps, from musical soup to political nuts. Flagrant indulgence in exotic words (did you know that larks flew not in common flocks but in exhaltations?) is balanced by solid satire of our art forms, our critics and any cultural clinkers that have rolled her way. Mr. Gorey's style has been variously described as macabre, Edwardian, ghoulish, appropriately antic, superb, charming. To embellish this volume he has again created the perfectly right drawings that are treasures in themselves. Felicia Lamport is the author of Mink on Weekdays as well as Scrap Irony. Her work has been published in Harper's, The Saturday Evening Post, the New York Herald Tribune, Show, Life, The New Yorker and other magazines. She lives in Cambridge, Massachusetts. Edward Gorey is well known for his slender and elegant series of illustrated fables, of which The Hapless Child, The Vinegar Works, The Remembered Visit are only a few."

Nacido en 1871 en Coro, a la entrada de la Península de Paraguaná, en la parte septentrional de Venezuela, Elías David Curiel pertenecía a una de las varias familias judías de origen curazoleño que se habían establecido en la capital del Estado Falcón en 1824, formando una comunidad que llegará a transformar esta antigua y pintoresca urbe colonial en uno de los principales polos económicos y culturales del continente en el novecientos, hasta el punto de que Coro llegó a ser calificada en aquel tiempo como «la Atenas de Venezuela». Educador, periodista y poeta, Curiel no abandonó nunca -salvo por un corto viaje a Los Teques y Caracas- su ciudad natal, a la que se sentía ligado por una especie de vínculo cósmico, y donde se entregó a los paraísos artificiales del éter y el cloral. Se suicidó en 1924, dejando una obra dispersa en periódicos y revistas que nunca llegó a recoger en libro. Fueron editores póstumos los que la dieron a conocer en ediciones locales patrocinadas por las instituciones gubernamentales de la región, y no siempre elaboradas con el necesario rigor. La presente es, de hecho, la primera que se hace fuera de Venezuela por iniciativa privada, y contiene los tres poemarios en que se organizó la obra de este auténtico poeta maldito, especialmente el titulado Música astral, obra rarísima donde la oscuridad de su pensamiento poético se combina con la extraña belleza formal y retórica que el modernismo hispanoamericano trajo a la lírica española.

After the Fall refers to the twin towers, and is Field's ode to the events that transpired thereafter--the war in Iraq and the attack on civil rights in America--as well as his own personal struggles over the indignities of aging. --Publisher's description.

In this stunning new collection-his first in five years-acclaimed poet Daniel Mark Epstein, whom Donald Hall praised for "a vision as tortured and powerful as early Robert Lowell," returns at the top of his form with new and challenging visions. Epstein's finely meshed net gathers it all in: Ronald Reagan ("On the Official Biography of Ronald Reagan"), Houdini ("Magic for Houdini"), a son's first smile ("The Code"), and the execution of Timothy McVeigh ("The Times: June 7, 2001"). Once again this master of language and vivid imagery explores the nature of time's passing and the triumphant power of the natural world-bringing into the fray the poets and history-makers of the past and present centuries. Epstein is that rare poet blessed with the capacity to register and record-as he does in "The Solar Eclipse in the Luxembourg Gardens," — ". . . the simultaneity/Of city, sun, moon and the human eye."

1st edn. 8vo. Original gilt lettered turquoise cloth (top edge lightly spotted - otherwise VG), dustwrapper (VG in protective wrapper, not price clipped). Pp. xiii + 65 (no inscriptions).

Boria Sax, steeped in animal studies in myth and literature, is not only a teacher and scholar, but also one of our finest lyric poets. This collection of poems and tales, centered around the mysterious world of crows and ravens that exists around us almost unnoticed, demonstrates the universality of the narratives in which animal wisdom plays, as he retells Eastern European and Native American crow/raven tales. The book is also interspersed with Sax's sensitive lyrics on other topics. Includes two "crow wheel" illustrations by Tom Fitzpatrick.

In the world of Chilean poet Ariel Dorfman, men and women can be forced to choose between leaving their country or dying for it. The living risk losing everything, but what they hold onto—love, faith, hope, truth—might change the world. It is this subversive possibility that speaks through these poems. A succession of voices—exiles, activists, separated lovers, the families of those victimized by political violence—gives an account of ruptured safety. They bear witness to the resilience of the human spirit in the face of personal and social damage in the aftermath of terror. The first bilingual edition of Dorfman’s work, In Case of Fire in a Foreign Land includes ten new poems and a new preface, and brings back into print the classic poems of the celebrated Last Waltz in Santiago. Always an eloquent voice against the ravages of inhumanity, Dorfman’s poems, like his acclaimed novels, continue to be a searing testimony of hope in the midst of despair.