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Nonfiction. Poetics. "DAY BOOK OF A VIRTUAL POET provides a unique entrance into the ideas and practices--into the life, finally--of one of our great writers"--Burt Kimmelman. This unique book is a record of e-mail letters from Robert Creeley to high school students participating in an online honors poetry course. It explores the educational possibilities of a medium that has become second nature to people across the generations. Creeley: "All the tendentious proposals as to why write, ' in Pound's useful phrase, finally fade to the one point W.C. Williams made by saying, Why don't we tell them it's fun?' Not just the authority of endless revisions, not just the lists of publications or prizes won, not just the company of poets of public record--just fun. Fun. Fun.... I don't think a book has so pleased me in years, just that it came so unintentionallyto hand. More than anything else, it was a place to say a great many things as a poet, to make clear what I valued...to keep the faith in my own way."
In this engaging, accessible memoir, Charles Hartman shows how computer programming has helped him probe poetry's aesthetic possibilities. He discusses the nature of poetry itself and his experiences with primitive computer-generated poetry programs and — illustrated with sample computer-produced verses — traces the development of more advanced hardware and software. The central question about this cyber-partnership, Hartman says, "isn't exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting." He examines the effects of randomness, arbitrariness, and contingency on poetic composition, concluding that "the tidy dance among poet and text and reader creates a game of hesitation. In this game, a properly programmed computer has a chance to slip in some interesting moves."
Poetry. African & African American Studies. Women's Studies. LGBTQIA Studies. In 2013, poet Lauren Russell acquired a copy of the diary of her great-great-grandfather, Robert Wallace Hubert, a Captain in the Confederate Army. After his return from the Civil War, he fathered twenty children by three of his former slaves. One of those children was the poet's great-grandmother. Through several years of research, Russell would seek the words to fill the diary's omissions and to imagine the voice of her great-great-grandmother, Peggy Hubert, a black woman silenced by history. The result is a hybrid work of verse, prose, images and documents that traverses centuries as the past bleeds into the present. "In DESCENT, the very talented poet Lauren Russell shows us how to write what we do not know; to give with grace and dignity, humanity to names on the family tree. DESCENT is a search for truths felt in one's bones."--Brenda Coultas "An audacious, acid, lyrical re-membering that asks, what do we demand of the past, and what to do with its refusal? Russell's deep archive would not answer her back. With DESCENT, however, she speaks to us. Sit all the way down and listen up."--Douglas Kearney "Lauren Russell's stellar new book-length poem...portrays a rich, Black American ancestral record. Sifting nimbly through all manner of documentation and employing form in revelatory ways, Russell's poems are as much ascent into a present shaped by the past as descent from America's true heroic figures."--John Keene
"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--
He investigates an "active boundary" as it relates to a sense of form as well as, Palmer writes, "to a more social sense of poetic activity as it exists in the margins, along the borders and, so to speak, 'underground'.""--Jacket.
Best known for his novel Trout Fishing in America, American writer Richard Gary Brautigan (1935-1984) published eleven novels, ten poetry collections, and two story collections, as well as five volumes of collected work, several nonfiction essays, and a record album of spoken voice recordings. Brautigan's idiosyncratic style and humor caused him to be identified with the counterculture movement of the 1960s. The authors of many of these 32 essays knew Brautigan personally and professionally; others came to know and respect him through a cultivated connection with his writings. The essays--many of which are new, others of which were published in obscure journals--combine personal remembrance of the man and critical appraisal of his still-controversial works. Includes previously unpublished photographs and artworks.
Robert Creeley, one of the most significant American poets of the twentieth century, helped define an emerging counter-tradition to the prevailing literary establishment—a postwar poetry originating with Ezra Pound, William Carlos Williams, and Louis Zukofsky and expanding through the lives and works of Charles Olson, Robert Duncan, Allen Ginsberg, Denise Levertov, and others. When Robert Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave—an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft. On Earth reminds us what has made Robert Creeley one of the most important and affectionately regarded poets of our time.
"I own every writing book ever written, and Linda Sivertsen has done the near-impossible: given writing itself a personality . . . Her stories are cinematic, hilarious, heartfelt, and pitch-perfect—with energy and punch, so often lacking in nonfiction." —Terry McMillan, #1 New York Times bestselling author "A page-turning beach read doubling as how-to. Magic." —Jenny Lawson, #1 New York Times bestselling author, journalist, and blogger at The Bloggess "An engaging manual that offers writing advice with a big, broad, sunny worldview . . . fans of Sivertsen's podcast will devour this companion volume." —Kirkus Reviews 2023 International Book Awards Winner & 2023 Firebird Book Awards "Speak Up Talk Radio" Winner Imagine you're at a dinner party with some of the most successful authors of our time. "Book Mama" and Beautiful Writers Podcast co-creator Linda Sivertsen is the host. As she shares her story of the many hilarious, outrageous, and practical things she did to launch her bestselling writing career, your favorite writers chime in with their own anecdotes, leaving you enlightened and newly inspired. The wisdom in these pages will nourish anyone who appreciates the art of storytelling and dreams of living a creative life. Beautiful Writers is a love letter to reading, writing, and everyone who reads and writes. It's the book Linda wished she had when she was starting out. In it, she shares—and expands on—the best of advice and storytelling from her podcast and follow-up interviews with literary greats, including: Terry McMillan Cheryl Strayed Tom Hanks Van Jones Jenny Lawson Steven Pressfield Elizabeth Gilbert Anne Lamott Mary Karr Seth Godin Abby Wambach Martha Beck Marie Forleo Lee Child Patricia Cornwell Dean Koontz Maria Shriver Dr. Jane Goodall Sabaa Tahir Tomi Adeyemi Ann Patchett Dani Shapiro Danielle LaPorte Tosca Lee Joy Harjo Deepak Chopra This heartwarming, how-I-made-it writing memoir from a working writer you've never heard of with inspiration and advice from the legends you love will help aspiring authors avoid common pitfalls and energize career writers with a treasure trove of writing insights from their peers—the details you don't often hear but make a world of difference. Beautiful Writers is destined to become the evergreen companion for creatives everywhere, answering the burning question, "How did they bust through all obstacles to deliver, day after day, year after year, book after book?"
An Anchor Books Original Seventy-four distinguished writers tell personal tales of books loved and lost–great books overlooked, under-read, out of print, stolen, scorned, extinct, or otherwise out of commission. Compiled by the editors of Brick: A Literary Magazine, Lost Classics is a reader’s delight: an intriguing and entertaining collection of eulogies for lost books. As the editors have written in a joint introduction to the book, “being lovers of books, we’ve pulled a scent of these absences behind us our whole reading lives, telling people about books that exist only on our own shelves, or even just in our own memory.” Anyone who has ever been changed by a book will find kindred spirits in the pages of Lost Classics. Each of the editors has contributed a lost book essay to this collection, including Michael Ondaatje on Sri Lankan filmmaker Tissa Abeysekara’s Bringing Tony Home, a novella about a mutual era of childhood. Also included are Margaret Atwood on sex and death in the scandalous Doctor Glas, first published in Sweden in 1905; Russell Banks on the off-beat travelogue Too Late to Turn Back by Barbara Greene–the “slightly ditzy” cousin of Graham; Bill Richardson on a children’s book for adults by Russell Hoban; Ronald Wright on William Golding’s Pincher Martin; Caryl Phillips on Michael Mac Liammoir’s account of his experiences on the set of Orson Welles’s Othello, and much, much more.
"The subtlest feeling for the measure that I encounter anywhere except in the verses of Ezra Pound."—William Carlos Williams "It is a study, how Creeley lands syntax down the alley, and his vocabulary-pure English-to hit meters and rhymes all of which are spares and strikes."—Charles Olson "Robert Creeley has created a noble body of poetry that extends the work of his predecessors Pound, Williams, Zukofsky, and Olson, and provides like them a method for his successors in exploring our new American poetic consciousness."—Allen Ginsberg "His succinctness is like the unfettered flashing of a diamond." —John Ashbery "Robert Creeley was one of the great giants of 20th Century American poetry. This collection is his monument." —Paul Auster "American poetry is unimaginable and, happily, unknowable without Creeley."—Andrei Codrescu, author of it was today: new poems "Creeley is a touchstone for me-a measure of what poetry is. He is a genius of the sensorium as Kerouac was and a master of the ear as is Miles Davis. He is a carver in space like Van Gogh."—Michael McClure "There is no poetry more vivid, immediate, or telling than Robert Creeley's. His Collected Poems extends the achievement of Dickinson, Whitman, and Williams into postwar America. Creeley's excavation of particular words, images, and sentiments resonate beyond the pages of this book into the fabric of everyday life. This is American invention at its best, as necessary as the air we breathe and the ground we walk on."—Charles Bernstein "'It isn't what a poet says that counts as a work of art,' William Carlos Williams once wrote, 'it's what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity.' I can't think of another contemporary poet whose acute sensitivity to the particular event of making (and in poetry making includes breaking) each written line is as consummately fine-tuned as Robert Creeley's."—Susan Howe "He was the main support in the old house of poetry—the main beam."—C.D. Wright, Brown University alumni newsletter "There is no poet like Creeley. His multiple subjectivities and magic syllables have kept us curious and honest. Never a false step, never a less than tender heart for the sound, and the brilliant cognitive, often fierce power therein. What a glorious long life in writing. These late poems keep the brilliant tempo. We are very lucky he is still so much among us."—Anne Waldman "Robert Creeley transformed the momentary, spontaneous music of being alive into a profoundly enduring American art: brilliant, necessary, impeccably scored. He made it new for always."—Peter Gizzi