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Necessary Stranger, Graham Foust's third book, offers agile poems of dread and humor. Robert Creeley writes, "These poems move in close to luxuriant circles, round and round each particular syllable, neither hurrying nor dragging behind—just there. At times there seems an almost physical presence to them, a third dimension, which is substance."
Poetry. Graham Foust has written a gorgeously subversive field guide to the inner life, the poet's life--an anthem, if you will, to a borderless country, unbound from assumption. Brace yourself for the shock of recognition.--Dawn Raffel On A Mouth in California: Since so much of Foust's work is a declaration of what he likes, embraces, and wants to incorporate into his corpus--that is, his body--these poems instruct the reader to become what you like so you can like what you are. And they mark Foust as one of the best erotic poets writing now.--Ange Mlinko in The Nation
Poetry. For more than two decades Graham Foust has been sounding out the limits of common expression through precise lyricism, a tragicomic, almost slapstick absurdism, and syncopated guesses about what things might mean. EMBARRASSMENTS offers a synthesis of that work. Running through the concerns of parenthood, climate change, and our inevitable insignificance is Foust's total commitment to excavating the strangeness of language and our entanglement with the words we share. "Like Stevens, Foust writes intricate poems that explore a world from which meaning has departed; the poet seeks to restore it, however tentatively, through the powers of artifice."--Ben Lerner
Poetry. Winner of the 2003 Sawtooth Poetry Prize, judged by Joe Wenderoth, who comments, in his introduction: "There are many ways to hear 'it takes off the top of my head.' For me, the most important way to hear it is: it makes me suddenly and oddly aware that I am alive--aware that I am simultaneously at the end and the beginning of my power, which is simply to be there and to say so. Foust's poems do this for me; I feel akin to the mute struggler that lurks all around these poems that eludes so many attempts at saying that and where and how he is. The struggle is, in my view, dignified -- never self-congratulatory, never self-pitying -- and it has produced sounds for us to come back to--sounds for us to set out from"--Joe Wenderoth, from the introduction.
A Mouth in California, Graham Foust's fourth book of poetry, uses the ironies and anxieties of contemporary life as a foil for mordant and sometimes violent humor. Through mangled aphorisms, misheard song lyrics, and off-key phrasing, Foust creates a unique idiom of tragicomic pratfalls, a ballet of falling down. Yet the elasticity of Foust's language repels the stiff-necked adversaries of thought: "what's the wrong way to break / that brick of truth back into music?"
The final collection of Ernst Meister, one of the great neglected lyric poets of post-war Germany.
Completes an informal trilogy by Meister, one of the great lyric post-war German poets.
Poetry. Comics. "'All objections to progress,' writes Hans Blumenberg, 'could come down to the fact that it hasn't yet taken us far enough.' That's philosophy—and it's funny—but no one would ever level the same complaint at pain or laughter, this fine book's subjects and two phenomena that can take human beings great distances almost immediately. Absolutely modern—but never resolutely maudlin—Sommer Browning doesn't settle for making it new; rather, she lets it bleed and gets us there on time."—Graham Foust
“In a rift of time the corner of the universe appears to consciousness.” —Ernst Meister
Poetry. "Full of the will and the weather, that great skeptic Wallace Stevens walked to work and wrote his poems, poems you may well already love and believe. (Good, as they say, for you.) And as for Chris Tonelli, he walks in that integrity: read him, and be merciful unto yourself. His foot standeth in an even place. This book'll make you bloom"--Graham Foust.