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Readers have dreamed about this collection for nearly four decades--an energized presentation of Frank Stanford's raw-genius ungovernable oeuvre.
From the Frank Stanford archives: unpublished poems, drafts, letters, and audio.
Between 1972, when he published his first book, The Signing Knives, and 1978, when he died at the age of twenty-nine, Frank Stanford published seven volumes of poetry. Within a year of his death, two posthumous collections were published. At the time of this death, as Leon Stokesbury asserts in his introduction, "Stanford was the best poet in America under the age of thirty-five." The Light the Dead See collects the best work from those nine volumes and six previously unpublished poems. In the earlier poems, Stanford creates a world where he could keep childhood alive, deny time and mutability, and place a version of himself at the center of great myth and drama. Later, the denial of time and mutability gives way to an obsessive and familiar confrontation with death. Although Stanford paid an enormous price for his growing familiarity with Death as a presence, the direct address to that presence is a source of much of the striking originality and stunning power in the poetry.
Rebellious and fiercely lyrical, the poems of C.D. Wright incorporate elements of disjunction and odd juxtaposition in their exploration of unfolding context. "In my book," she writes, "poetry is a necessity of life. It is a function of poetry to locate those zones inside us that would be free, and declare them so." C.D. Wright was born and raised in the Ozark Mountains of Arkansas. She has received numerous awards for her work, including grants from the National Endowment for the Arts, the Guggenheim Foundation, the American Academy and Institute for Arts and Letters, and the Lila Wallace-Reader's Digest Foundation. She teaches at Brown University in Rhode Island. "Expertly elliptical phrasings, and an uncounterfeitable, generous feel for real people, bodies and places, have lately made Wright one of America's oddest, best and most appealing poets. Her tenth book consists of a single long poem whose sentences, segments and prose-blocks weave loosely around and about, and grow out of, a road trip through the rural South. Clipped twangs, lyrical ‘goblets of magnolialight,’ and recurrent, mysterious, semi-allegorical figures like ‘the snakeman’ and ‘the boneman’ share space with place names, lexicographies, exhortations and wacky graffiti (‘God is Louise’).… cherish Wright's latest ‘once-and-for-all thing, opaque and revelatory, ceaselessly burning.’"—Publishers Weekly "For me, C.D. Wright's poetry is river gold. 'Love whatever flows.' Her language is on the page half pulled out of earth and rivers—still holding onto the truth of the elements. I love her voice and pitch and the long snaky arms of her language that is willing to hold everything—human and angry and beautiful."—Michael Ondaatje "C.D. Wright is entirely her own poet, a true original."—The Gettysburg Review
Poetry. THE SINGING KNIVES, originally published in 1971 by Broughton's Mill Mountain Press, is Frank Sanford's first collection of poetry. Reprinted by his own press, Lost Roads Publisher, after his death, THE SINGING KNIVES, debuts the work of a twenty-something year old boy way ahead of his time and in a state of unrest, capturing "poetry's more primal and mysterious possibilities"-David Clewell. "It is astonishing to me that I was not even aware of this superbly accomplished and moving poet. There is a great deal of pain in the poems, but it is a pain that makes sense, a tragic pain whose meaning rises from the way the poems are so firmly molded and formed from within"- James Wright.
Sarah J. Maas hit the New York Times SERIES list at #1 with A Court of Wings and Ruin!
Fiction. "These are not stories in the contemporary sense, but tales spun out of the mystical and the ordinary, a history of men sizing up other men and bottles being passed around a campfire. ...If death figures here, there is also the dichotomy of images honing in on an inevitable end and a language that is enormously, relentlessly alive"--Silvia Curbelo.