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"Portions of this book appeared in various forms in American poetry, Poetry, and Poets & writers"--T.p. verso.
"Poetry is the sound of language organized in lines." James Longenbach opens The Art of the Poetic Line with that essential statement. Through a range of examples - from Shakespeare and Milton to Ashbery and Glück - Longenbach describes the function of line in metered, rhymed, syllabic, and free-verse poetry. That function is sonic, he argues, and our true experience of it can only be identified in relation to other elements in a poem. Syntax and the interaction of different kinds of line endings are primary to understanding line, as is the relationship of lineated poems to prose poetry. The Art of the Poetic Line is a vital new resource by one of America's most important critics and one of poetry's most engaging practitioners.
Dean Young's poems are as entertaining and imaginative as a three-ring circus painted by Hieronymous Bosch
"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 . . .
The award-winning poet Carl Phillips's invaluable essays on poetry, the tenth volume in the celebrated Art of series of books on the craft of writing In seven insightful essays, Carl Phillips meditates on the craft of poetry, its capacity for making a space for possibility and inquiry. What does it mean to give shapelessness a form? How can a poem explore both the natural world and the inner world? Phillips demonstrates the restless qualities of the imagination by reading and examining poems by Ashbery, Bogan, Frost, Niedecker, Shakespeare, and others, and by considering other art forms, such as photography and the blues. The Art of Daring is a lyrical, persuasive argument for the many ways that writing and living are acts of risk. "I think it's largely the conundrum of being human that makes us keep making," Phillips writes. "I think it has something to do with revision—how, not only is the world in constant revision, but each of us is, as well."
Poems inspire our trust, argues James Longenbach in this bracing work, because they don't necessarily ask to be trusted. Theirs is the language of self-questioning—metaphors that turn against themselves, syntax that moves one way because it threatens to move another. Poems resist themselves more strenuously than they are resisted by the cultures receiving them. But the resistance to poetry is quite specifically the wonder of poetry. Considering a wide array of poets, from Virgil and Milton to Dickinson and Glück, Longenbach suggests that poems convey knowledge only inasmuch as they refuse to be vehicles for the efficient transmission of knowledge. In fact, this self-resistance is the source of the reader's pleasure: we read poetry not to escape difficulty but to embrace it. An astute writer and critic of poems, Longenbach makes his case through a sustained engagement with the language of poetry. Each chapter brings a fresh perspective to a crucial aspect of poetry (line, syntax, figurative language, voice, disjunction) and shows that the power of poetry depends less on meaning than on the way in which it means—on the temporal process we negotiate in the act of reading or writing a poem. Readers and writers who embrace that process, Longenbach asserts, inevitably recoil from the exaggeration of the cultural power of poetry in full awareness that to inflate a poem's claim on our attention is to weaken it. A graceful and skilled study, The Resistance to Poetry honors poetry by allowing it to be what it is. This book arrives at a critical moment—at a time when many people are trying to mold and market poetry into something it is not.
In Elegy on Toy Piano, Dean Young's sixth book of poems, elegiac necessity finds itself next to goofy celebration. Daffy Duck enters the Valley of the Eternals. Faulkner and bell-bottoms cling to beauty's evanescence. Even in single poems, Young's tone and style vary. No one feeling or idea takes precedence over another, and their simultaneity is frequently revealed; sadness may throw a squirrelly shadow, joy can find itself dressed in mourning black. As in the agitated "Whirlpool Suite": "Pain / and pleasure are two signals carried / over one phoneline." In taking up subjects as slight as the examination of a signature or a true/false test, and as pressing as the death of friends, Young's poems embrace the duplicity of feeling, the malleability of perception, and the truth telling of wordplay.
The next book in the red-hot RECKLESS series is here! ""Oh man, this book pushed every crime fiction button for me...Bliss."" —PATTON OSWALT Bestselling crime noir masters ED BRUBAKER and SEAN PHILLIPS bring us a new original graphic novel starring troublemaker-for-hire Ethan Reckless. It's 1988, and Ethan has been hired for his strangest case yet: finding the secrets of a Los Angeles real estate mogul. How hard could that be, right? But what starts as a deep dive into the life of a stranger will soon take a deadly turn, and Ethan will risk everything that still matters to him. Another smash hit from the award-winning creators of RECKLESS, PULP, MY HEROES HAVE ALWAYS BEEN JUNKIES, CRIMINAL, and KILL OR BE KILLED—and a must-have for all BRUBAKER and PHILLIPS fans!
"It sounds like a simple thing, to say what you see," Mark Doty begins. "But try to find words for the shades of a mottled sassafras leaf, or the reflectivity of a bay on an August morning, or the very beginnings of desire stirring in the gaze of someone looking right into your eyes . . ." Doty finds refuge in the sensory experience found in poems by Blake, Whitman, Bishop, and others. The Art of Description is an invaluable book by one of America's most revered writers and teachers.
"She was like a storm." —Leonard Cohen Reckless Daughter is the story of an artist and an era that have left an indelible mark on American music. Joni Mitchell may be the most influential female recording artist and composer of the late twentieth century. In Reckless Daughter, the music critic David Yaffe tells the remarkable, heart-wrenching story of how the blond girl with the guitar became a superstar of folk music in the 1960s, a key figure in the Laurel Canyon music scene of the 1970s, and the songwriter who spoke resonantly to, and for, audiences across the country. A Canadian prairie girl, a free-spirited artist, Mitchell never wanted to be a pop star. She was nothing more than “a painter derailed by circumstances,” she would explain. And yet, she went on to become a talented self-taught musician and a brilliant bandleader, releasing album after album, each distinctly experimental, challenging, and revealing. Her lyrics captivated listeners with their perceptive language and naked emotion, born out of Mitchell’s life, loves, complaints, and prophecies. As an artist whose work deftly balances narrative and musical complexity, she has been admired by such legendary lyricists as Bob Dylan and Leonard Cohen and beloved by such groundbreaking jazz musicians as Jaco Pastorius, Wayne Shorter, and Herbie Hancock. Her hits—from “Big Yellow Taxi” to “Both Sides, Now” to “A Case of You”—endure as timeless favorites, and her influence on the generations of singer-songwriters who would follow her, from her devoted fan Prince to Björk, is undeniable. In this intimate biography, drawing on dozens of unprecedented in-person interviews with Mitchell, her childhood friends, and a cast of famous characters, Yaffe reveals the backstory behind the famous songs—from Mitchell’s youth in Canada, her bout with polio at age nine, and her early marriage and the child she gave up for adoption, through the love affairs that inspired masterpieces, and up to the present—and shows us why Mitchell has so enthralled her listeners, her lovers, and her friends.