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Poetry. Anthology. THE VOLTA BOOK OF POETS gathers together the work of 50 talented poets of disparate backgrounds and traditions, providing a constellation of the most exciting, innovative poetry evolving today. Named for the online poetics archive The Volta, THE VOLTA BOOK OF POETS navigates contrasting styles and forms to showcase poetry in its dissimilar pleasures, presenting difference as a means for inspiring a new way to think about poetry, and to inspire readership for the poetry communities and presses radiating out from the poets collected in this essential anthology, including Rosa Alcalá, Eric Baus, Anselm Berrigan, Edmund Berrigan, Susan Briante, Sommer Browning, Julie Carr, Don Mee Choi, Arda Collins, Dot Devota, Tsering Wangmo Dhompa, Graham Foust, C.S. Giscombe, Renee Gladman, Noah Eli Gordon, Yona Harvey, Matthew Henriksen, Harmony Holiday, Cathy Park Hong, Bhanu Kapil, John Keene, Aaron Kunin, Dorothea Lasky, Juliana Leslie, Rachel Levitsky, Tan Lin, Dawn Lundy Martin, J. Michael Martinez, Farid Matuk, Shane McCrae, Anna Moschovakis, Fred Moten, Sawako Nakayasu, Chris Nealon, Hoa Nguyen, Khadijah Queen, Andrea Rexilius, Zachary Schomburg, Brandon Shimoda, Evie Shockley, Cedar Sigo, Abraham Smith, Christopher Stackhouse, Mathias Svalina, Roberto Tejada, TC Tolbert, Catherine Wagner, Dana Ward, Ronaldo V. Wilson, and Lynn Xu.
A debut collection of love poems that resist subjection and ask how we might live together outside of capitalism, providing for each other through intimate acts of care and struggle
Beautifully crafted poems that investigate the intersections of the living and the dead in stunningly simple language.
One of Ashbery’s most important masterworks: Widely studied, critically admired, and essential to understanding one of the modern era’s most revolutionary poets The Double Dream of Spring, originally published in 1970, followed the critical success of John Ashbery’s National Book Award–nominated collection Rivers and Mountains and introduced the signature voice—reflective, acute, and attuned to modern language as it is spoken—that just a few years later would carry Ashbery’s Pulitzer Prize–winning masterpiece Self-Portrait in a Convex Mirror. Ashbery fans and lovers of modern poetry alike will recognize here some of the century’s most anthologized and critically admired works of poetry, including “Soonest Mended,” “Decoy,” “Sunrise in Suburbia,” “Evening in the Country,” the achingly beautiful long poem “Fragment,” and Ashbery’s so-called Popeye poem, the mordant and witty “Farm Implements and Rutabagas in a Landscape.” The Double Dream of Spring helped cement Ashbery’s reputation as a must-read American poet, and no library of modern poetry is complete without it.
Structure & Surprise: Engaging Poetic Turns offers a road map for analyzing poetry through examination of poems' structure, rather than their forms or genres. Michael Theune's breakthrough concept encourages students, teachers, and writers to use structure as a tool to see the fundamental affinities between strikingly different kinds of poetry and radically different literary eras. The book includes examination of the mid-course turn and the elegy, as well as the ironic, concessional, emblem, and retrospective-prospective structures, among others. In addition, 14 contemporary poets provide an example of and commentary on their own work.
The heart of this collection is a cycle of Chile poems by the Pablo Neruda of North American authors (Sandra Cisneros).
"There’s something inherently spiritual about Olzmann’s Mezzanines. . . . It’s a place of reflection and contemplation, a temporary reprieve from the world’s chaos and a reach for a vision of paradise." —The Los Angeles Review of Books “. . .the poems [in Mezzanines] have doors that open and invite you inside. The rooms of the house may be odd, and the stairwells may lead in strange directions, but you, as the reader, remain beckoned. [Olzmann] hasn’t invited you in just to leave you. He’s got stories to tell, and they’re good.” —The Huffington Post Blog There is no place Matthew Olzmann doesn’t visit in his poignant debut. From underwater to outer space, Mezzanines is a contained universe, constantly shifting through multiple perceptions of the surreal and the real. A lyrical conversation with mortality, Olzmann explores identity, faith, and our sense of place, with an acute awareness of our minute existence. From "NASA Video Transmission Picked Up By Baby Monitor": How many shadows are there left to name? Logophobia is the fear of words. Keraunothnetophobia is the fear of falling man-made satellites. Imagine this last one: you walk outside and look to heaven expecting a sky lab plunging down on you—wires everywhere, bolts loosening, metal body in flames. Instead, you see only blue, endless blue, the color of a baby’s new blanket, cloaking everything. Matthew Olzmann is a graduate of the MFA program for writers at Warren Wilson College. His poems have appeared or are forthcoming in Kenyon Review, New England Review, Inch, Gulf Coast, Rattle, and elsewhere. He’s received fellowships from Kundiman and the Kresge Arts Foundation. Currently, he is a writer-in-residence for the InsideOut Literary Arts Project and the poetry editor of The Collagist.
Poetry. In WASTOID'S dystopian landscape of desire, lovers love trampolines, lamp-makers, the sound of cars driving in the rain, anonymous tips that send innocent men to the electric chair, toil, silence, etc. Tender & nonsensical, foolish & profound, Svalina explores love's endless variety & illogical boundaries. Merging renaissance sonnet traditions with the serial explorations of Cortazar & Calvino, WASTOID speaks of love & pain & ecstatic failure, searching for some new way to never be able to learn anything new.
In Tributaries, poet Laura Da’ lyrically surveys Shawnee history alongside personal identity and memory. With the eye of a storyteller, Da’ creates an arc that flows from the personal to the historical and back again. In her first book-length collection, Da’ employs interwoven narratives and perspectives, examines cultural archetypes and historical documents, and weaves rich images to create a shifting vision of the past and present. Precise images open to piercing meditations of Shawnee history. In the present, a woman watches the approximation of a scalping at a theatrical presentation. Da’ writes, “Soak a toupee with cherry Kool-Aid and mineral oil. / Crack the egg onto the actor’s head. / Red matter will slide down the crown / and egg shell will mimic shards of skull.” This vivid image is paired with a description of the traditional removal path of her own Shawnee ancestors through small towns in Ohio. These poems range from the Midwestern landscapes of Ohio and Oklahoma to the Pacific Northwest, and the importance of place is apparent. Tributaries simultaneously offers us an extended narrative rumination on the impact of Indian policy and speaks to the contemporary experiences of parenthood and the role of education in passing knowledge from one generation to the next. This collection is composed of four sections that come together to create an important new telling of Shawnee past and present.