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Mezza Voce
Poetry. Translated from the French by Josef Simas, with Lydia Davis, Anthony Barnett and Douglas Oliver. "There is no other poetry like this in the world. Even at its most difficult, its passions are mesmerizing. It is a great triumph to have carried these extraordinary pages into the English language."--Paul Auster "Here is the poet for whom the voice itself rings in its silent echo, reaching ever farther into the constancy of reflection, ever further into something unknown, unknowable, frightening...."--Gale Nelson "It is a book of fourteen poems...which seem to be a meditation on an already-distanced interior drama, a kind of passion both in the sensual and in the suffering senses."--Rachel Blau DuPlessis
Figured Image
Poetry. Translated from the French by Keith Waldrop. "Anne-Marie Albiach's words are never alone on the page, having each other for company, just as they find here ideal companionship in Keith Waldrop's translation. In Figurations de l'image, Albiach pursues her rigorous investigation into the possibilities of measure, the perceptible, luminescence, vulnerability, memory, contour, ardor, breath, oscillation, remonstration, trajectory, disparity, abstraction, antecedence, disparity, refraction, trace, tapestry, rehearsal, reverberation, and the irreparable. In these poems, the figures refute image as they bank, relapse, surge, palsy, recollect. Albiach scores space to twine time, abjures rhyme to make blank shimmer in the mark." Charles Bernstein "In FIGURED IMAGE, Keith Waldrop has created perfectly lucid translations, making available to readers of English the most significant compilation of Anne-Marie Albiach's work since her MEZZA VOCE (The Post-Apollo Press, 1988). Waldrop's limpid immediacy negotiates with deliberate grace the complexities of Albiach's lexicon." Donald Wellman"
Transcendental Studies
This compelling selection of recent work by internationally celebrated poet Keith Waldrop presents three related poem sequences—"Shipwreck in Haven," "Falling in Love through a Description," and "The Plummet of Vitruvius"—in a virtuosic poetic triptych. In these quasi-abstract, experimental lines, collaged words torn from their contexts take on new meanings. Waldrop, a longtime admirer of such artists as the French poet Raymond Queneau and the American painter Robert Motherwell, imposes a tonal override on purloined materials, yet the originals continue to show through. These powerful poems, at once metaphysical and personal, reconcile Waldrop's romantic tendencies with formal experimentation, uniting poetry and philosophy and revealing him as a transcendentalist for the new millennium.
"Vocative Figure"
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Paris Spleen
Between 1855 and his death in 1867, Charles Baudelaire inaugurated a new—and in his own words "dangerous"—hybrid form in a series of prose poems known as Paris Spleen. Important and provocative, these fifty poems take the reader on a tour of 1850s Paris, through gleaming cafes and filthy side streets, revealing a metropolis on the eve of great change. In its deliberate fragmentation and merging of the lyrical with the sardonic, Le Spleen de Paris may be regarded as one of the earliest and most successful examples of a specifically urban writing, the textual equivalent of the city scenes of the Impressionists. In this compelling new translation, Keith Waldrop delivers the companion to his innovative translation of The Flowers of Evil. Here, Waldrop's perfectly modulated mix releases the music, intensity, and dissonance in Baudelaire's prose. The result is a powerful new re-imagining that is closer to Baudelaire's own poetry than any previous English translation.
Theory of Prepositions
"One of France's most important post-'68 poets, Claude Royet-Journoud developed a spare style that explores the implications of the page as a stage for a poetics of immanence. His tetralogy, published between 1972 and 1997, is now a classic in the long tradition of French poetic innovation going back to Villon. In this, his first book-length work since the tetralogy, Royet-Journoud continues to break new ground."--BOOK JACKET.
Close Listening
Close Listening brings together seventeen strikingly original essays, especially written for this volume, on the poetry reading, the sound of poetry, and the visual performance of poetry. While the performance of poetry is as old as poetry itself, critical attention to modern and postmodern poetry performance has been surprisingly slight. This volume, featuring work by critics and poets such as Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe, is the first comprehensive introduction to the ways in which twentieth-century poetry has been practiced as a performance art. From the performance styles of individual poets and types of poetry to the relation of sound ...
All the Whiskey in Heaven
All the Whiskey in Heaven brings together Charles Bernstein’s best work from the past thirty years, an astonishing assortment of different types of poems. Yet despite the distinctive differences from poem to poem, Bernstein’s characteristic explorations of how language both limits and liberates thought are present throughout. Modulating the comic and the dark structural invention with buoyant soundplay, these challenging works give way to poems of lyric excess and striking emotional range. This is poetry for poetry’s sake, as formally radical as it is socially engaged, providing equal measures of aesthetic pleasure, hilarity, and philosophical reflection. Long considered one of America’s most inventive and influential contemporary poets, Bernstein reveals himself to be both trickster and charmer.
White Piano
"White Piano holds an acute sense of what poetry is, its danger. . . . Brossard knows well that 'life is only good for living' and that living is incarnated in the material of language, that sounds, those carriers of sense, can propel it in front of the world."—Le Devoir Between the verbs quivering and streaming, White Piano unfolds its variations like musical scores. Pronouns and persons, poetry and prose: White Piano, superbly translated from the French, narrates a constellation of questions and offers a "language that cultivates its own craters of fire and savoir-vie." Nicole Brossard is one of North America's foremost practitioners of innovative writing.
