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"To read this book is to meet a man who would climb the sky." —BOB HICOK In his follow-up to Fancy Beasts, a book that “slice[d] straight through nerve and marrow on its way to the heart and mind of the matter” (Tracy K. Smith), Alex Lemon dazzles with his exuberance and candor. Whether in unrestrained descriptions of sensory overload or tender meditations on fatherhood and mortality, Lemon blurs the nebulous line between the personal and the pop-cultural. These poems are full of frenetic energy and images pleasantly, strangely colliding: jigsaws and bathtubs and kung-fu and X-rays. A carnival barker calls. A jellyfish celebrates a shaky adulthood. A sliding door shatters with the passing through of a body. And a heart is “ecstatically / Torn apart like Twizzlers.” Lean and muscular, The Wish Book is a collection of fireworks and wild emotion, defined by Lemon’s distinct brand of poetic edginess.
The unusual voice encountered in Curses and Wishes carries a quiet, slightly elevatedconversational tone, which flows from intimate secrets to wider social concerns. The poet has faith in economy and trusts in images to transfer knowledge that speech cannot. In Curses and Wishes the short, simple lines add up to a thoughtful book possessed with lyrical melancholy, a harmony of sadness and joy that sings: "May happiness be a wheel, a lit throne, spinning / in the vast pinprick of darkness." By the close of this ambitious work the poet has inspired readers to see the multifaceted effects of our human connections.
"At the limit of house, of loss, at the edge of language, at the exhaustion of identity and text, Bhanu Kapil brings her shadow of a girl in and out of being, making of her a structure that is relation. Here in this radiant work of prose, the cyborg, the monster, the immigrant finds a future existence, a vibrant bleeding color brought forth by the multiple disjuncts that the book (and history) insists upon. Poised between pre-life and the notebook, between country and idea of country, in the mirror between addresser and addressee is the body that might exist in time. A work of global fiction, Incubation: A Space for Monsters extends its own faltering reach to offer the (various) other: a body, an accompaniment in language and ultimately a watery site of inscription to touch." -- Back cover.
Poetry. Middle Eastern Studies. Translated by Saleh Razzouk with Philip Terman. From the introduction: "In terms of his poetics, Riad did not trust a modernity without traditions. Instead, he preferred a modernity that was able to digest many tones and styles while still staying aware of its sources. Riad combined contemporary themes with hybrid, experimental forms, often in the same poem; his language (even in translation) encompasses, in frequently startlingly surreal imagery, an impressively expansive range of themes from the lexicons of art and nature, military conflict and sensual intimacies, and the stuff of his highly imaginative and sensitive interior dream world. In the manner of a Vallejo or a Neruda, his rhythm often breaks through its form, yet at the same time one senses the immediacy of his intense passion combined with his deeply attuned sense of compassion: 'I want to build a room / Enough for a thousand friends... / I want to place a river / in the prison / I want to steal the jail cells / And throw them into the sea' ('Wishes'). During the period of the Arab 'Beat Generation,' Hussein's popularity thrived. His handsome appearance, complicated attitude with women, Dylan Thomas-like affection for alcohol, and his expansive, Whitman-like openness, made him a veritable poetry star. And so, it's no surprise that he was detained by the authorities and tortured. Because of his popularity among the younger generation and his good relations with important representatives in the media and among Syrian cultural figures, he was fortunate: he was granted release in less than a week. But the psychological scars penetrated deeper: he was ill, without access to meet expenses for his treatment, and he died only months after his release at the age of 28."
A sijo, a traditional Korean verse form, has a fixed number of stressed syllables and a humorous or ironic twist at the end. Like haiku, sijo are brief and accessible, and the witty last line winds up each poem with a surprise. The verses in this book illuminate funny, unexpected, amazing aspects of the everyday--of breakfast, thunder and lightning, houseplants, tennis, freshly laundered socks. Carefully crafted and deceptively simple, Linda Sue Park's sijo are a pleasure to read and an irresistible invitation to experiment with an unfamiliar poetic form. Istvan Banyai's irrepressibly giddy and sophisticated illustrations add a one-of-a-kind luster to a book that is truly a gem.
This ambitious and exuberant distillation of W.S. Merwin's vast poetic oeuvre presents the absolute best of the best.
Award-winning Arab Australian poet Omar Sakr presents a pulsating collection of poetry that interrogates the bonds and borders of family, faith, queerness, and nationality. Visceral and energetic, Sakr’s poetry confronts the complicated notion of “belonging” when one’s family, culture, and country are at odds with one’s personal identity. Braiding together sexuality and divinity, conflict and redemption, The Lost Arabs is a fierce, urgent collection from a distinct new voice.
The #1 New York Times bestselling children's book Amy Krouse Rosenthal and Tom Lichtenheld have combined their extraordinary talents to create an inspirational book that's full of endless good wishes. Wishes for curiosity and wonder, for friendship and strength, laughter and peace. Whether celebrating life's joyous milestones, sharing words of encouragement, or observing the wonder of everyday moments, this sweet book is for wishers of all ages! I Wish You More is the perfect graduation gift as well as a must-have, uplifting read sure to bring positivity to all who read it.