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Joyce Ackley, author of Get Out of Heaven's Waiting Room, now has a book of poetry, House of Memories and other poems. The cover is her drawing of the house that was lived in by four generations of her family. Some of her poetry reflects the memories of people and events spent at that home, which has now been demolished. Her poems are simple memories or ah-ha moments when she discovered the beauty and mystery of nature.. She ends her book with a few little rhymes for the little ones who also enjoy poetry. Her sense of humor is found in such poems as There's Prejudice in the Church, or Confessions to my Third Grade Teacher.
Mystical poems explore the author's experiences communicating with a spirit named Ephraim through an Ouija board
Born in the small, eastern Kentucky coal-mining town of Harlan, George Ella Lyon began her career with Mountain, a chapbook of poems. She has since published many more books in multiple genres and for readers of all ages, but poetry remains at the heart of her work. Many-Storied House is her fifth collection. While teaching aspiring writers, Lyon asked her students to write a poem based on memories rooted in a house where they had lived. Working on the assignment herself, Lyon began a personal journey, writing many poems for each room. In this intimate book, she strives to answer lingering questions about herself and her family: "Here I stand, at the beginning," she writes in the opening lines of the volume, "with more questions than / answers." Collectively, the poems tell the sixty-eight-year-long story of the house, beginning with its construction by Lyon's grandfather and culminating with the poet's memories of bidding farewell to it after her mother's death. Moving, provocative, and heartfelt, Lyon's poetic excavations evoke more than just stock and stone; they explore the nature of memory and relationships, as well as the innermost architecture of love, family, and community. A poignant memoir in poems, Many-Storied House is a personal and revealing addition to George Ella Lyon's body of work.
A House of Many Rooms is a glittering memory palace filled with treasures that capture in splendid poetic words and images, "emotion recollected in tranquility". Some of the rooms echo the New England pastoral tone of Robert Frost while others contain the murmurs of William Carlos Williams and shared lives in medicine. Undergirding the whole structure is a life lived in and by the wisdom imparted by a strong religious faith. There is nostalgia and a looking back upon a fulfilled life while accepting a sense of the ending. The work represents a late life style, a sublime artistry that will enchant and deeply move all those who amble through its rooms of poetic eloquence. A towering palace on a hill.
"In the Fall of 2010 I gave an assignment in my Appalachian Literature class at Berea College, telling my students to write their own version of "Where I'm From" poem based on the writing prompt and poem by George Ella Lyon, one of the preeminent Appalachian poets. I was so impressed by the results of the assignment that I felt the poems needed to be preserved in a bound document. Thus, this little book. These students completely captured the complexities of this region and their poems contain all the joys and sorrows of living in Appalachia. I am proud that they were my students and I am very proud that together we produced this record of contemporary Appalachian Life" -- Silas House
The poems of an architect whose affection for urban reality and imagined space is as evident in his writing as in his buildings and drawings. The poems of John Hejduk are almost nonpoetic: still lives of memory, sites of possessed places. They give a physical existence to the words themselves and an autobiographical dimension to the architect. Architect Peter Eisenman likens them to "secret agents in an enemy camp."Writing about Hejduk's poems in 1980, Eisenman observed, "Walter Benjamin has said that Baudelaire's writings on Paris were often more real than the experience of Paris itself. Both drawing and writing contain a compaction of themes which in their conceptual density deny reduction and exfoliation for a reality of another kind: together they reveal an essence of architecture itself." This is the first comprehensive collection of Hejduks poems to be published outside an architectural setting.
A Pulitzer Prize Finalist Winner of the Los Angeles Time Book Prize Alice Notley vividly reconstructs the mysteries, longings, and emotions of her past in this brilliant collection of poems that charts her growth from young girl to young woman to accomplished artist. In this volume, memories of her childhood in the California desert spring to life through evocative renderings of the American landscape, circa 1950. Likewise, her coming of age as a poet in the turbulent sixties is evoked through the era's angry, creative energy. As she looks backward with the perspective that time and age allows, Notley ably captures the immediacy of youth's passion while offering her own dry-eyed interpretations of the events of a life lived close to the bone. Like the colorful collages she assembles from paper and other found materials, Notley erects structures of image and feeling to house the memories that swirl around her in the present.In their feverish, intelligent renderings of moments both precise and ephemeral, Notley's poems manage to mirror and transcend the times they evoke. Her profound tributes to the stages of her life and to the identities she has assumed—child, youth, lover, poet, wife, mother, friend, and widow—are remarkable for their insight and wisdom, and for the courage of their unblinking gaze.
In her debut collection, Monica Sok uses poetry to reshape a family’s memory about the Khmer Rouge regime—memory that is both real and imagined—according to a child of refugees. Driven by myth-making and fables, the poems examine the inheritance of the genocide and the profound struggles of searing grief and PTSD. Though the landscape of Cambodia is always present, it is the liminal space, the in-betweenness of diaspora, in which younger generations must reconcile their history and create new rituals. A Nail the Evening Hangs On seeks to reclaim the Cambodian narrative with tenderness and an imagination that moves towards wholeness and possibility.
The Bounty was the first book of poems Derek Walcott published after winning the 1992 Nobel Prize in Literature. Opening with the title poem, a memorable elegy to the poet's mother, the book features a haunting series of poems that evoke Walcott's native ground, the island of St. Lucia. "For almost forty years his throbbing and relentless lines kept arriving in the English language like tidal waves," Walcott's great contemporary Joseph Brodsky once observed. "He gives us more than himself or 'a world'; he gives us a sense of infinity embodied in the language."