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Presents a guide to publishing poetry, containing lists of entries with evaluations of poetry publishers and complete submission and contact information.
In Feeling as a Foreign Language, Alice Fulton considers poetry's uncanny ability to access and recreate emotions so wayward they go unnamed. Fulton contemplates topics ranging from the intricacies of a rare genetic syndrome to fractals from the aesthetics of complexity theory to the need for "cultural incorrectness." Along the way, she falls in love with an outrageous 17th century poet, argues for a Dickinsonian tradition in American letters, and calls for a courageous poetics of inconvenient knowledge.
Thankless, mundane, and “never done,” housework continues to be seen as women's work, and contemporary women poets are still writing the domestic experience sometimes resenting its futility and lack of social rewards, sometimes celebrating its sensory delights and immediate gratification, sometimes cherishing the undeniable link it provides to their mothers and grandmothers. In Sweeping Beauty, a number of these poets illustrate how housekeeping's repetitive motions can free the imagination and release the housekeeper's muse. For many, housekeeping provides the key to a state of mind approaching meditation, a state of mind also conducive to making poems. The more than eighty contributors to Sweeping Beauty embrace this state and confirm that women are pioneers and inventors as well as life-givers and nurturers. “My fingers are forks, my tongue is a rose . . . / I turn silver spoons into rabbit stew / make quinces my thorny upholstery . . . / how else could the side of beef walk / with the sea urchin roe?” sings the cook in Natasha Sajé's ode to kitchen alchemy. “I love the notion that we can take our most poisonous angers, our most despairing or humiliated or stalemated moments, and make something good of them--something tensile and enduring,” says Leslie Ullman. Whether we are fully present in our tasks or “gone in the motion” of performing them, whether our stovetops are home to “stewpots of discontent” or grandmother's favorite jam, something is always cooking.
Provides poets with information on more than one thousand commercial and literary markets for their work, details of payments and submission guidelines, interviews with poets, publishers, and editors.
An indispensable tool for any poet interested in publishing work, this guide contains more than 1,800 market listings, advice from successful poets, and how-to articles.
Using the poet's native Italian landscapes, Gilbert Highet recreates these poets in situ to evoke the essence of their work. His translations summon a land enchanted by presences - from Horace's beloved Tivoli to Ovid in the Abruzzi. Highet lets each poet tell his own story - their pleasures and agonies, passions and hates and above all their devotion to the natural world around them.
"In Young's work, the big essential questions—mortality, identity, the meaning of life—aren't simply food for thought; they're grounds for entertainment."—Toronto Star "Surrealism seldom seems as much like real life as in Young's hilarious and cautionary poems."—Booklist Bender gathers a generous selection of new work along with treasure from Dean Young's twelve volumes. Strongly influenced by Surrealism, Dean Young's poems flash with extravagant imagery, humorous speech, sly views of the quotidian, and the exposed nerves of heartache. As the American Academy of Arts and Letters raved, "Young's poems are as entertaining as a three-ring circus and as imaginative as a canvas by Hieronymus Bosch. He is one of the most inventive and satisfying poets writing today." From "Even Funnnier Looking Now": If someone had asked me then, Do you suffer from the umbrage of dawn's dark race horses, is your heart a prisoner of raindrops? Hell yes! I would have said or No way! Never would I have said, What could you possibly be talking about? I had just gotten to the twentieth century like a leftover girder from the Eiffel Tower. My Indian name was Pressure-Per-Square-Inch. I knew I was made of glass but I didn't yet know what glass was made of: hot sand inside me like pee going all the wrong directions, probably into my heart which I knew was made of gold foil glued to dust . . .
""Writing is a cover for necromancy", Carmen Innocencia accuses her creator, Flamingo Tongue, a young Jamaican writer. Carmen is not the only one of Flamingo's creations to confront her author, for her characters and their tragic, heartening story come vividly alive, perhaps too alive, and just to make sure she can control them, Flamingo makes doll figures of them, but even then... There is Alva Donovan, blinded in childhood, with one seeing eye, one dreaming eye, with whom Flamingo exchanges shoes and in whom she begins to fear she will lose herself. There are the other members of the Donovan family: Dahlia, Paul aka Made in China, and their parents Mama Milly and Daddy Clive the bee-keeper whose sudden, violent deaths set up the patterns of separation and eventual reconnection and healing that run through the novel. As Carmen's accusation suggests, this is a novel set at the cross-roads between the living and the dead - and the cemetery literally becomes the refuge of the orphaned children - between the harsh realities of the violence which spills over from an election campaign and a world where dreams, spirit possession and women who become snails are just as real."--BOOK JACKET.
The hand is second only to language in defining the human being, and its constant presence makes it a ready reminder of our humanity, with all its privileges and obligations. In this dazzling collection, Cole Swensen explores the hand from any angle approachable by language and art. Her hope: to exhaust the hand as subject matter; her joy: the fact that she couldn’t. These short poems reveal the hand from a hundred different perspectives. Incorporating sign language, drawing manuals, paintings from the 14th to the 20th century, shadow puppets, imagined histories, positions (the “hand as a boatless sail”), and professions (“the hand as window in which the panes infinitesimal”), Cole Swensen’s fine hand is “that which augments” our understanding and appreciation of “this freak wing,” this “wheel that comforts none” yet remains “a fruit the size and shape of the heart.”
A monument to the literary genius of women throughout the ages, A Book of Women Poets from Antiquity to Now is an invaluable collection. Here in one volume are the works of three hundred poets from six different continents and four millennia. This revised edition includes a newly expanded section of American poets from the colonial era to the present. "[A] splendid collection of verse by women" (TIME) throughout the ages and around the world; now revised and expanded, with 38 American poets.