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Fiction. Deep in the mountains of British Columbia, across an unforgiving landscape, one man's pursuit of a fabled mountain lion leads him into the furthest reaches of himself. As he struggles to confront the wilderness surrounding him--from the baying hounds to the relentless northern snows--he journeys into his own haunted memories: a life of wild horses and ballet, fishing skiffs and blizzards, tropical seas and dolphins. Through wind, snow, and the depths of grief, he asks what price he is willing to exact on a world that ravages what we love, and whether redemption awaits those who learn to forgive. A tender story of love and a modern-day parable, The Dark Heart of Every Wild Thing, the debut novel from acclaimed poet Joseph Fasano, guides us into the deepest territories of the human heart. "Joseph Fasano has the heart and the ear and he puts them to magnificent use in THE DARK HEART OF EVERY WILD THING. By turns mournful and thrilling, this story, told in precise and glorious prose, traverses the wild heights of grief, vengeance, tenderness, and love. It pierces."--Sam Lipsyte "A father, a boy, and a mountain lion. If it sounds like the start of a parable, that's because THE DARK HEART OF EVERY WILD THING has wisdom to share. But that wisdom is complicated, surprising, and at times even vicious. What seems at first like a quiet book is actually quite fierce, not unlike the big cat at the center of its story. This elegiac novel is a moving meditation on grief, love, and obsession."--Erica Wright "Joseph Fasano is a wonderfully gifted writer. He writes evocatively, lyrically, and never fails to surprise us with his revelations and illuminations. His insights are deep, his delineation of character and place immensely satisfying. He gives us a story that keeps resonating long after we have finished reading."--Nicholas Christopher
Poetry. Winner of the 2011 Cider Press Review Book Award, selected by Jeanne Marie Beaumont. Beaumont writes, "Somewhat indescribable, as original things often are, the poems of Joseph Fasano feel hunted, gathered, built like fires, brewed like storms. Elemental and feral, FUGUE FOR OTHER HANDS is full of disturbing deeds and haunted rituals. At once mythic and specific, these poems are blood-stained, grief-scarred, providing their solace only from their commitment to art's depths. 'Say you were the wild gift,' one poem states; Fasano has such a gift, and therefore with his bare hands and torn heart makes poems worth living in."
"The reader discovers new satisfactions with such a book. Far from the insipid savors generated by a passive fascination, the text stirs up the joys of an endless activity." Le Monde
A young New York writer finds his life transformed by the poetry of Sylvia Plath, as well as by her suicide, in a novel that explores the poet's death and its impact on her survivors, including her husband, Ted Hughes.
"You must write a self/ out of waiting/ to speak" asserts Alina Ștefănescu's Dor and oh, what a prismatic, many-headed self has been written into existence within these pages. In her stunning second full-length collection, Ștefănescu explores the worlds contained in the Romanian word Dor- a word close to longing but with no exact English equivalent-as it relates to the speaker's life as a daughter, a mother, a foreign body in a country that harms and holds us conditionally. Simultaneously tender and incisive, witty and full transformations, this book and its many ecosystems of longing and belonging begs to be re-read and promises new wonders each time. - Jihyun Yun, author of Some Are Always Hungry In one of the beautiful poems in the collection, Dor, Alina Ștefănescu writes of a "heart shaped like a shovel." Indeed, Ștefănescu's heart unearths the rich mysteries of an amalgam of Romanian and southern American culture in language deeply shadowed but attentive to the most telling of details. This is a collection that twists form and content into poems that are by turns tender or incendiary, or both. - Erin Coughlin Hollowell, author of Every Atom Alina Ștefănescu's Dor is a compendium of desire, displacement, longing, and belonging. While the word "dor" itself "serves as a bridge which creates its own territory from fusion," here Stefanescu's words do their own act of bridging the spaces between the body and language. In these poems, tongues, like nations, have borders; nouns and verbs come alive with ownership and agency. Part genealogy of influences, part meditation on love, lust, and loss, and part pointed feminist critique, Dor is a multi-faceted collection that creates a newly textured landscape of language. - Emily Holland, author of Lineage and editor of Poet Lore Looking at what makes her heart soar with Dor, Alina Ștefănescu leads us through undilluted layers of loss, love, time, language and identity, showing that "the verb for longing in Romanian is a mouth." The condensed nature of the poems and their wordplay invite the reader into a world of sensation and memory where language shifts and blooms, filling mouth and eyes with delight, where, "any body is a bow, tuned to tremble." - Clara Burghelea, author of The Flavor of the Other Some of the most complicated and haunting songs live inside these poems: nocturnes and fugues, the humming of wordless lullabies, birds who "sing in unpredatored darkness," and most significantly, the doina-a traditional Romanian folk song of intense longing. That longing charges and electrifies this book: an attempt to hold the uncontainable, to name the unnamable, to translate an emotion that can't quite be translated from one language to another. From inside these uncharted spaces, Alina Ștefănescu gifts us with this moving collection and all its rare, disquieting music. - Matthew Olzmann, author of Contradictions in the Design "And what is memory / if not fondled ache..." From the Romanian Republic of Alabama, "where longing is /a homeland", Alina Ștefănescu's Dor sings us back to the forgotten, the lost, the silences we hold and grow; here we learn, "looking back is a way of looking within." These are poems that bruise in the way they remind us we are alive. The book will singe your fingertips, show the life you are sewn into, feed you missing language, and cut through the deep-fake of not feeling. As the poet reminds us, "The danger is not dying but living in exile from / longing." - Amelia Martens, author of The Spoons in the Grass Are There to Dig a Moat
Charles Bukowski examines cats and his childhood in You Get So Alone at Times, a book of poetry that reveals his tender side. The iconic tortured artist/everyman delves into his youth to analyze its repercussions. “The Walt Whitman of Los Angeles.”—Joyce Carol Oates “He brought everybody down to earth, even the angels.”—Leonard Cohen, songwriter
A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier—C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
Written late in his life, J. S. Bach’s The Art of Fugue has long been admired—in some quarters revered—as one of his masterworks. Its last movement, Contrapunctus 14, went unfinished, and the enigma of its incompleteness still preoccupies scholars and musical conductors alike. In 1881, Gustav Nottebohm discovered that the three subjects of the movement could be supplemented by a fourth. In 1993, Zoltán Göncz revealed that Bach had planned the passage that would join the four subjects in an entirely unique way. This section has not survived, but, as Göncz notes, it must have been ready in the earliest phase of composition since Bach had created the expositions of the first three subjects from its “disjointed” parts. Göncz then boldly took on the task of reconstructing the original “template” by putting together the once separate pieces. In Bach’s Testament: On the Philosophical and Theological Background of The Art of Fugue, Göncz probes the philosophic-theological background of The Art of Fugue, revealing the special structures that supported the 1993 reconstruction. Bach’s Testament investigates the reconstruction’s metaphysical dimensions, focusing on the quadruple fugue. As a summary of Zoltán Göncz’s extensive research over many years, which resulted in the completion of the fugue, this work explores the complex combinatorial, philosophical and theological considerations that inform its structure. Bach’s Testament is ideally suited not only to Bach scholars and musicologists but also intellectual historians with particular interests in 18th-century religious and philosophical ideas.
Complete score of The Art of Fugue plus extensive commentary features all 14 fugues plus the four canons. The commentary outlines the fugues' contrapuntal devices and offers keen observations on the composer's craftsmanship.
Broke and down on his luck, Sebastien Ranes robs a grocery store, making off with nearly $5,000. His image is all over the television within hours, but before Sebastien can be arrested, a drunk driver smashes into his Jeep in the middle of town. Things couldn't get much worse until a Marine recruiter who witnesses the accident gives Sebastien a ride home--and a way out.