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"In Nikky Finney's Head Off & Split the beauty of language soars and saves us even as we skirt the raw edge of terror. And something rare and precious is restored, a light, a circling movement of the spirit. This is poetry to give thanks for."---Meena Alexander, author of Quickly Changing River --
Poems Seven: New and Complete Poetry, the winner of the National Book Award, presents the life work of a giant of American letters, tracks a forty-year career of honest, tough artistry, and shows a man at nearly 80 years of age and still at the height of his poetic power. Dugan’s new poems continue his career-long concerns with renewed vigor: the poet’s insistence that art is a grounded practice threatened by pretension, the wry wit, the jibes at the academic and sententious, and the arresting observations on the quotidian battles of life. All the while he peppers his poems with humorous images of the grim and daunting topics of existential emptiness.
Winner of the 2021 National Book Award for Poetry From the winner of the Ruth Lilly Poetry Prize come masterfully crafted narratives of protest, grief and love. Martín Espada is a poet who "stirs in us an undeniable social consciousness," says Richard Blanco. Floaters offers exuberant odes and defiant elegies, songs of protest and songs of love from one of the essential voices in American poetry. Floaters takes its title from a term used by certain Border Patrol agents to describe migrants who drown trying to cross over. The title poem responds to the viral photograph of Óscar and Valeria, a Salvadoran father and daughter who drowned in the Río Grande, and allegations posted in the "I’m 10-15" Border Patrol Facebook group that the photo was faked. Espada bears eloquent witness to confrontations with anti-immigrant bigotry as a tenant lawyer years ago, and now sings the praises of Central American adolescents kicking soccer balls over a barbed wire fence in an internment camp founded on that same bigotry. He also knows that times of hate call for poems of love—even in the voice of a cantankerous Galápagos tortoise. The collection ranges from historical epic to achingly personal lyrics about growing up, the baseball that drops from the sky and smacks Espada in the eye as he contemplates a girl’s gently racist question. Whether celebrating the visionaries—the fallen dreamers, rebels and poets—or condemning the outrageous governmental neglect of his father’s Puerto Rico in the wake of Hurricane María, Espada invokes ferocious, incandescent spirits.
A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.
Full-color photographs accompany two hundred poems about animals.
“Jane Kenyon had a virtually faultless ear. She was an exquisite master of the art of poetry.” —Wendell Berry Published twenty-five years after her untimely death, The Best Poems of Jane Kenyon presents the essential work of one of America’s most cherished poets—celebrated for her tenacity, spirit, and grace. In their inquisitive explorations and direct language, Jane Kenyon’s poems disclose a quiet certainty in the natural world and a lifelong dialogue with her faith and her questioning of it. As a crucial aspect of these beloved poems of companionship, she confronts her struggle with severe depression on its own stark terms. Selected by Kenyon’s husband, Donald Hall, just before his death in 2018, The Best Poems of Jane Kenyon collects work from across a life and career that will be, as she writes in one poem, “simply lasting.”
Renunciation as a creative force in the careers of writers, philosophers, and artists is the animating idea behind Ross Posnock’s new book. Taking up acts of abandonment, rejection, and refusal that have long baffled critics, he shows how renunciation has reframed the relationship of artists and intellectuals to society in productive and unpredictable ways. In a work of remarkable synthesis that includes traditions and genres from antiquity to postmodernity, Posnock discovers connections among disparate figures ranging from Lao Tzu to Dave Chappelle and Bob Dylan. The thread running through these acts of renunciation, he argues, is an aesthetic and ethical resistance to the demand that one’s words and actions be straightforward and immediately comprehensible. Modern art in particular valorizes the nonconceptual and the intuitive, seeking to make silence articulate and incompletion fertile. Renouncers reject not only artistic and scholarly conventions but also the public roles that attend them. Wittgenstein, Rimbaud, and Glenn Gould brazenly flouted professional and popular expectations, demanding that philosophy, poetry, music play by new rules. Emerson and Nietzsche severed all institutional ties, while William James waged a guerrilla campaign from his post at Harvard against what all three considered to be the enemy: the pernicious philosophical insistence on rationality. Posnock also examines renunciations in light of World War II—the veterans J. D. Salinger and George Oppen, and the Holocaust survivor Paul Celan—while a fourth cluster includes the mystic Thomas Merton and the abstract painters Ad Reinhardt and Agnes Martin.
Carlo Rovelli, Italian physicist, says that "the world is not a collection of things, it is a collection of events." Poet Diane Louie thinks of prose poems as little events. They are happening and happenings. They draw on experience, image, metaphor, and all the properties of language to create little worlds-in-motion: spinning while orbiting, actively shifting our point of view. More genus than hybrid species, prose poems can straddle the obvious limits and less-obvious liberties of perception. This active characteristic of spanning and connecting is especially relevant in a time of cultural polarization. Marrying, even uneasily, the inquiries of science and spiritual longing can illuminate what they—and we—have in common: a desire to understand our presence in a universe that does not yield ultimate answers.
In the summer of 1998, Roger Bonair-Agard, Stephen Colman, Guy LeCharles Gonzalez, Alix Olson and Lynne Procope took the championship belt at the National Poetry Slam, the first team from the world-famous Nuyorica Poets Cafe. These five poets stand at the vanguard of the slam movement, with verse that is passionate, tight, political and lucid.
In her second collection, Idra Novey steps in and out of jails, courthouses, and caves to explore what confinement means in the twenty-first century. From the beeping doors of a prison in New York to cellos playing in a former jail in Chile, she looks at prisons that have opened, closed, and transformed to examine how the stigma of incarceration has altered American families, including her own. Novey writes of the expanding prison complex that was once a field and imagines what's next for the civilians who enter and exit it each day.