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In poems that roam from the intimacy of prayer to the art of brewing tea, from bamboo-related famine to quasars, the globe's minor seas, and the nuptial flight of ants, PHYLA OF JOY reaches toward ecstasy. Rigoberto Gonzalez calls this book ..". a beautiful and sustained meditation on the impermanence of humanity's essential components: memory, spirituality, emotion, thought.... Contemplative and linguistically sophisticated, PHYLA OF JOY is simply exquisite - 'ink and stanza / flow like wind on grass.'"
“Let our scars fall in love,” Galway Kinnell said. In this compelling book, Desmond Francis Xavier Kon Zhicheng-Mingdé moves his love language over old wounds, deep cuts now seemingly inappreciable. Scarred over and smoothed out—by grace. Yet, how reasoned and magnificent the rising for air, the lyric ascent that wraps a heady mix of theological imagination and handsome aesthetics, without pause or apology. This is a hearty nod to Hans Urs von Balthasar’s three transcendentals of Being—beauty, goodness, truth. In these poems, one experiences the full-bodied witness of Catholic piety, one that remains brave, vulnerable, curious, devoted, and above all, reverent. The lines traverse a broad, lustrous terrain, from Mount Olivet to Macau, Malacca to Montreal. From Caravaggio’s Deposition of Christ to Salvador Dalí’s Ascension of Christ. From the Church of Agios Lazaros to the Church of the Sepulchre of Saint Mary. One walks through Ordinary Time to Advent, and looks on the year Ash Wednesday fell on Saint Valentine’s Day. Without reservation, there remains an adoring love for the Holy Eucharist. And veneration for what is an impressive host of saints—from Saint Monica to Saint Rose of Lima, Saint John of the Cross to Saint Josemaría Escrivá. How do our conversations with God inhabit their own speech acts, then settle comfortably into the contemplative, the deep quiet of silence? How does the language of the confessional translate itself into confessional poetry, the expressed lyric turning itself over and over again, how iterative, how manifold the unfolding and infolding? A language always stationed in a state of contingency, open in its gentle evolutions—by turns; yet, all at once. The fragile transformations as delicate and faint, as they remain illumined, uplit. Always looking heavenward, toward the light, toward transcendence.
Like The Old Farmer's Almanac chronicles the cycles of sun, moon, stars, and planets, Full Worm Moon explores the profound transitions from promise to loss, depicting one woman's endeavor to "move into a third space / hospitable for another life / more rare, more raw." In particular, Julie L. Moore tracks the phases of a long marriage's brutal disintegration, a year as turbulent as the wind that uproots a birch tree, leaving it "prostrate on the ground / like one spouse pleading / with the other not to leave." Every month's full moon weaves through seasons of vicissitude, creating a new vocabulary for solitude without loneliness and endurance without passivity. As they delve into divorce's myriad aftershocks, Moore's poems remain intelligent and intimate; amid their stunning landscapes emerge both beauty and violence as well as a host of memorable characters: Milton and Monet, Charon and Cicero, Benedictine monks and Cooper's Hawks, clueless administrators and clever students, an oblivious weatherman and a philosophical neighbor. All are welcome, and in her lyrical, trustworthy voice, Moore guides us, with our "longing / for answered prayer," to press on and "practice . . . / anything but resignation."
Winner of the prestigious Tupelo Press Dorset Prize, selected by poet and MacArthur "genius grant" recipient Eleanor Wilner who says, "I'm so happy to have a manuscript that I believe in so powerfully, poetry with such a deep music. I love it." One might spend a lifetime reading books by emerging poets without finding the real thing, the writer who (to paraphrase Emily Dickinson) can take the top of your head off. Kaminsky is the real thing. Impossibly young, this Russian immigrant makes the English language sing with the sheer force of his music, a wondrous irony, as Ilya Kaminsky has been deaf since the age of four. In Odessa itself, "A city famous for its drunk tailors, huge gravestones of rabbis, horse owners and horse thieves, and most of all, for its stuffed and baked fish," Kaminksy dances with the strangest — and the most recognizable — of our bedfellows in a distinctive and utterly brilliant language, a language so particular and deft that it transcends all of our expectations, and is by turns luminous and universal.
Was the Universe created in 4004 BC? Was Jesus of Nazareth secretly married to Mary Magdalene? Were Jesus, Mary Magdalene, their son, and the Virgin Mary all laid to rest in a 'Lost Jesus Tomb?' Was the New Testament written by ignorant fishermen who lived long after Jesus and never knew Him? In this work, Dr. DuPraw provides a critical refutation of these and other absurd fictions recently published about Jesus Christ, often with the implication that they might be, or really are true. In separate chapters, the author summarizes scientific facts about the rise of the dinosaurs 230 million years ago, their sudden extinction 65 million years ago, and the appearance of Homo sapiens 195 thousand years ago; he describes how little is known about the origin of life on Earth or anywhere else; and he proposes a useful concept called 'adaptive modification of species' or 'intelligent evolution.'
“The achievement of ‘Poverty Creek Journal’ is precisely that it does retrace that kind of wandering—and, in so doing, makes something lovely and meaningful of a difficult year. Gardner does not go in for pat analogies; he does not claim, as Camus once did about soccer, that running taught him everything about death. Nor does he go in for pat consolation. His journal does not so much end as stop, as if he has simply not yet risen for the next morning’s run.” — Kathryn Schulz, New Yorker “This is one of the most beautifully rendered pieces about running I’ve encountered under fifty pages. On the surface, Poverty Creek Journal is a daily running log in lyric prose, but it soon offers a meditation on the articulable nature of the human experience. After the narrator suddenly loses his brother, we follow his thoughts through nature, his mind wandering to integrate the strength and frailty of the body as he runs. Gardner’s luminous insights on running are often breathtaking. He likens running to ‘half sleep, when you’re awake in a way, but aware of dreams passing in a kind of un-retraceable wandering….the turning colors passing through me… no real way to put any of this into numbers, mile after mile streaming through me.’ We escape with Gardner away, from the finitude of miles and the illusion of stasis through his will to observe and gradually integrate loss into his body.” — Jaclyn Gilbert, LitHub “[E]ach year I turned my attention again to Poverty Creek Journal, listening closely to Gardner’s prose to understand better what I was striving for in my own work. Only recently did I start to realize that what he’d achieved in his writing didn’t mean I was an inadequate writer, but rather that I’d found a partner of sorts, someone whose work I could converse with through my own work.” —Joe Demes, Meter Magazine Thomas Gardner lives and teaches in Blacksburg, Virginia, on the edge of the Jefferson National Forest.
Editors Ilya Kaminsky and Katherine Towler have gathered conversations with nineteen of America’s leading poets, reflecting upon their diverse experiences with spirituality and the craft of writing. Bringing together poets who are Christian, Buddhist, Jewish, Muslim, Pagan, Native American, Wiccan, agnostic, and otherwise, this book offers frank and thoughtful consideration of themes too often polarized and politicized in our society. Participants include Li-Young Lee, Jane Hirshfield, Carolyn Forché, Gerald Stern, Christian Wiman, Joy Harjo, and Gregory Orr, and others, all wrestling with difficult questions of human existence and the sources of art.
A Library Journal Best Reference Book of 2022 This book represents the culmination of over 150 years of literary achievement by the most diverse ethnic group in the United States. Diverse because this group of ethnic Americans includes those whose ancestral roots branch out to East Asia, Southeast Asia, South Asia, and Western Asia. Even within each of these regions, there exist vast differences in languages, cultures, religions, political systems, and colonial histories. From the earliest publication in 1887 to the latest in 2021, this dictionary celebrates the incredibly rich body of fiction, poetry, memoirs, plays, and children’s literature. Historical Dictionary of Asian American Literature and Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 700 cross-referenced entries on genres, major terms, and authors. This book is an excellent resource for students, researchers, and anyone wanting to know more about this topic.
In her Los Angeles Review of Books essay “Who Is Who: Pronouns, Gender, and Merging Selves,” Dana Levin describes Stacey Waite’s fusion of gender identities: “Pseudonyms, heteronyms, personae, all the ventriloquizing literary arts; point of view and tonal shifts: these are tools for speakers and speaking. But the sentence too has a voice: ‘i will not be the kind of boy who can not bear the memory of her body’ ... This is [Waite’s] genius ... to take innocuous syntactical phrasing and change the players mid-sentence — to get around English’s pronominal either/or by creating a syntactical both/and...” “In this arresting collection, Stacey Waite is a pathfinder, charting with disarming honesty, humor, pathos and willful perplexity the uncertain terrain of gender in ways that shatter assumptions, unsettle easy presumptions, and yet, through the sheer grace of her craft and deft language, that open us to the beauty of our strange human enterprise.” — Kwame Dawes
A fully updated overview of the causation, function, development and evolution of cephalopod behaviour, richly illustrated in full colour.