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Literary Nonfiction. Sparked by the only two letters--out of over a hundred-that López Medin's mother saved from her own mother in Paraguay, THE POEM THAT NEVER ENDS weaves together poems and family photos to explore the fragmentation of time, memory, and mother-child relationships. Fragments, family hearing impairments, ripped-up letters, and living and writing between languages point to the inescapable holes in language, troubling the notion of a finite utterance. Layering elements of painting, cinema, and the elusive three dimensions of theater into the weave, THE POEM THAT NEVER ENDS traces a sequence of mothers-López Medin's mother, her mother's mother, herself as a mother-in a porous, restless gesture toward what's never fully grasped.
My final poetry book took a sharp turn that was not expected but did happen. An amazing revelation of a mystery unveils while in the middle of compiling the book at hand. The image portrayed here is that of the impact we have on each other. I felt compelled to share this with everyone reading this book. Being an author is not based on the number of books one has written but rather, the impact you have and had on others. The book contains some interesting moments that will give you credit. I must say, there are some moments of pain, especially when some of us remember the shooting that happened a few years ago at Dawson College. I must say that I saw all the good memories that were left by the girl who was short to death. It is through her that I realized the previously stated statement that portrays an author. The most wonderful thing that you will get from reading this book or the previous ones is, you will be spiritually up lifted, encouraged, inspired, motivated and blessed beyond measure. Above all, you will see God’s love and grace for you.
Ryan O'Brian is riding a wave of inspiration with no shoreline in sight--he can't STOP writing poetry. In the cafeteria with french fries. In the bathroom with toothpaste. Even on the soccer field with mud! Has he reached an artistic crescendo with a sonnet on the staircase and a villanelle on the shower curtain? What next? In this innovative, inspiring picture book, you'll find a laugh-out-loud story poem full of hilarious antics, and, if you look carefully, you'll discover Ryan's own poems within the inventive illustrations. As a bonus, Ryan's helpful guide to fifteen poetic forms and five voices invites you to challenge your own poetic imagination. Ideal for reading aloud or acting out, here's the perfect book to celebrate the joy of poetry and spark creative thinking. Join in the fun!
I love to swim in the sea, which keeps talking to itself in the monotone of a vagabond who no longer recalls exactly how long he's been on the road. Swimming is like prayer: palms join and part, join and part, almost without end. --from "On Swimming" Without End draws from each of Adam Zagajewski's English-language collections, both in and out of print--Tremor, Canvas, and Mysticism for Beginners--and features new work that is among his most refreshing and rewarding. These poems, lucidly translated, share the vocation that allows us, in Zagajewski's words, "to experience astonishment and to stop still in that astonishment for a long moment or two."
A NEW YORK REVIEW BOOKS ORIGINAL Notorious for a misspent life full of binges, blackouts, and unimaginable bad luck, Malcolm Lowry managed, against every odd, to complete and publish two novels, one of them, Under the Volcano, an indisputable masterpiece. At the time of his death in 1957, Lowry also left behind a great deal of uncollected and unpublished writing: stories, novellas, drafts of novels and revisions of drafts of novels (Lowry was a tireless revisiter and reviser—and interrupter—of his work), long, impassioned, haunting, beautiful letters overflowing with wordplay and lament, fraught short poems that display a sozzled off-the-cuff inspiration all Lowry’s own. Over the years these writings have appeared in various volumes, all long out of print. Here, in The Voyage That Never Ends, the poet, translator, and critic Michael Hofmann has drawn on all this scattered and inaccessible material to assemble the first book that reflects the full range of Lowry’s extraordinary and singular achievement. The result is a revelation. In the letters—acknowledged to be among modern literature’s greatest—we encounter a character who was, as contemporaries attested, as spellbinding and lovable as he was self-destructive and infuriating. In the late fiction—the long story “Through the Panama,” sections of unfinished novels such as Dark as the Grave Wherein My Friend Is Laid, and the little-known La Mordida—we discover a writer who is blazing a path into the unknown and, as he goes, improvising a whole new kind of writing. Lowry had set out to produce a great novel, something to top Under the Volcano, a multivolume epic and intimate tale of purgatorial suffering and ultimate redemption (called, among other things, “The Voyage That Never Ends”). That book was never to be. What he produced instead was an unprecedented and prophetic blend of fact and fiction, confession and confusion, essay and free play, that looks forward to the work of writers as different as Norman Mailer and William Gass, but is like nothing else. Almost in spite of himself, Lowry succeeded in transforming his disastrous life into an exhilarating art of disaster. The Voyage That Never Ends is a new and indispensable entry into the world of one of the masters of modern literature.
'Bright Dead Things buoyed me in this dismal year. I'm thankful for this collection, for its wisdom and generosity, for its insistence on holding tight to beauty even as we face disintegration and destruction.' Celeste Ng, author of Everything I Never Told You A book of bravado and introspection, of feminist swagger and harrowing loss, Bright Dead Things considers how we build our identities out of place and human contact - tracing in intimate detail the ways the speaker's sense of self both shifts and perseveres as she moves from New York City to rural Kentucky, loses a dear parent, ages past the capriciousness of youth and falls in love. In these extraordinary poems Ada Limón's heart becomes a 'huge beating genius machine' striving to embrace and understand the fullness of the present moment. 'I am beautiful. I am full of love. I am dying,' the poet writes. Building on the legacies of forebears such as Frank O'Hara, Sharon Olds and Mark Doty, Limón's work is consistently generous, accessible, and 'effortlessly lyrical' (New York Times) - though every observed moment feels complexly thought, felt and lived.
An astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselves—from National Book Critics Circle Award winner and National Book Award finalist Ada Limón. “I have always been too sensitive, a weeper / from a long line of weepers,” writes Limón. “I am the hurting kind.” What does it mean to be the hurting kind? To be sensitive not only to the world’s pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings—and to know that those beings are resolutely their own, that they “do not / care to be seen as symbols”? With Limón’s remarkable ability to trace thought, The Hurting Kind explores those questions—incorporating others’ stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families. Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. “Slippery and waddle thieving my tomatoes still / green in the morning’s shade,” writes Limón of a groundhog in her garden, “she is doing what she can to survive.”
World Without End, Claude Wilkinson's fourth poetry collection, takes its title from the last words of the Gloria Patri. But the preceding words--"as it was in the beginning, is now and ever shall be"-- also echo the book's overarching theme: the seemingly infinite spiritual implications woven throughout our experience in the natural world. The poems are organized into meditations on family and community, spiritual worldviews, art and its insights, and nature's endless source of ever-relevant metaphor. The poems also speak to each other across these sections--and even with poems in Wilkinson's earlier collections. World Without End opens with "Among Other Things, My Father Teaches Me How to Mow Grass," exploring the relationship of father and son, something that is revisited later on in "Salvia." Both poems long for conciliation between father and son through yard work--restoring order in the garden, a lost Eden. Wilkinson's gift for ekphrastic poetry remains strong in World Without End, though here it is more referential and allusive. Rather than engaging specific works of art, the poet strives to understand the broader aesthetic visions of figures like Theodore Dreiser, Vincent Van Gogh, and Walter Anderson. In the title poem, a reference to Edward Hicks's The Peaceable Kingdom suggests art's ephemeral yet sustaining power--and an irrepressible yearning for a return to paradise.