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Counter-Amores
Jennifer Clarvoe’s second book, Counter-Amores, wrestles with and against love. The poems in the title series talk back to Ovid’s Amores, and, in talking back, take charge, take delight, and take revenge. They suggest that we discover what we love by fighting, by bringing our angry, hungry, imperfect selves into the battle. Like a man who shouts for the echo back from a cliff, or the scientist who teaches her parrot to say, “I love you,” or the philosopher who wonders what it is like to be a bat, or Temple Grandin’s lucid imaginings of the last moments of cattle destined for slaughter, the speakers in these poems seek to find themselves in relation to an ever-widening circle of unknowable others. Yearning for “the sweet cool hum of fridge and fluorescent that sang ‘home,’” we’re as likely to find “fifty-seven clicks and flickering channels pitched to the galaxy.” Song itself becomes a site for gorgeous struggle, just as bella means both “beautiful” and “wars.”
Invisible Tender
Jennifer Clarvoe's Invisible Tender is the first winner of the annual Poets Out Loud Prize for a book of poetry published each year by Fordham University Press in coordination with Fordham's Poets Out Loud program. Poet J.D. McClatchy, the judge for the 1999 Prize, chose Invisible Tender from among nearly 500 manuscripts entered by poets from around the world. His introduction is included in the volume. The poems collected in Invisible Tender chart the terrains of childhood recollection and adult loss, of meditation and celebration. Intensely lyrical, both employing and altering traditional poetic meters and forms, Clarvoe's poems are rich in philosophical reflection in subjects ranging from art and, popular culture to the elusive languages of the natural world.
The Hello Delay
This text explores themes of familiarity and strangeness, asking the reader to consider the differences between them and where they overlap. Sampling from all forms of communication, the author implores us to greet the unknown and to listen in turn.
A Companion to Poetic Genre
A COMPANION TO POETIC GENRE A COMPANION TO POETIC GENRE This eagerly awaited Companion features over 40 contributions from leading academics around the world, and offers critical overviews of numerous poetic genres. Covering a range of cultural traditions from Britain, Ireland, North America, Japan and the Caribbean, among others, this valuable collection considers ancient genres such as the elegy, the ode, the ghazal, and the ballad, before moving on to Medieval and Renaissance genres originally invented or codified by the Troubadours or poets who followed in their wake. The book also approaches genres driven by theme, such as the calypso and found poetry. Each chapter begins by defining the genre in its initial stages, charting historical developments and finally assessing its latest mutations, be they structural, thematic, parodic, assimilative, or subversive.
Next Line, Please
In this book, David Lehman, the longtime series editor of the Best American Poetry, offers a masterclass in writing in form and collaborative composition. An inspired compilation of his weekly column on the American Scholar website, Next Line, Please makes the case for poetry open to all. Next Line, Please gathers in one place the popular column’s plethora of exercises and prompts that Lehman designed to unlock the imaginations of poets and creative writers. He offers his generous and playful mentorship on forms such as the sonnet, haiku, tanka, sestina, limerick, and the cento and shares strategies for how to build one line from the last. This groundbreaking book shows how pop-up crowds of poets can inspire one another, making art, with what poet and guest editor Angela Ball refers to as "spontaneous feats of language." How can poetry thrive in the digital age? Next Line, Please shows the way. Lehman writes, "There is something magical about poetry, and though we think of the poet as working alone, working in the dark, it is all the better when a community of like-minded individuals emerges, sharing their joy in the written word."
The Limits of Eroticism in Post-Petrarchan Narrative
Although theories of exploitation and subversion have radically changed our understanding of gender in Renaissance literature, to favour only those theories is to risk ignoring productive exchanges between 'masculine' and 'feminine' in Renaissance culture. 'Appropriation' is too simple a term to describe these exchanges - as when Petrarchan lovers flirt dangerously with potentially destructive femininity. Spenser revises this Petrarchan phenomenon, constructing flirtations whose participants are figures of speech, readers or narrative voices. His plots allow such exchanges to occur only through conditional speech, but this very conditionality powerfully shapes his work. Seventeenth-century works - including a comedy by Jane Cavendish and Elizabeth Brackley, and Upon Appleton House by Andrew Marvell - suggest that the civil war and the upsurge of female writers necessitated a reformulation of conditional erotics.
Things that No Longer Delight Me
Things That No Longer Delight Me is a collection of poems about family and memory. This book is filled with objects. The author writes: I like objects for company, to decorate the plainest spaces, decorum and I amass details, jade bracelet, her animal-print dresses, an oval coral cameo. How do objects counter loneliness, she asks, and speak to us of how to behave? In Things That No Longer Delight Me, lyric is driven by a compulsion or need to collect, in order to make sense of the past and stay connected to it. And what if that connection were to be lost? Confronting loss, the book pieces together a family history from stories fragmented and overheard. It asks: What is hearsay and what is history? It seeks to embody story, or historical detail, in lyric form. Resisting nostalgia, its poems respect what is diminished by grief or loss yet reveal details that hold sway over us and give us continuing pleasure.
Poetry as Re-Reading
Grounded in a detailed and compelling account of the philosophy guiding such a project, Ma's book traces a continuity of thought and practice through the very different poetic work of objectivists Louis Zukofsky, George Oppen, Carl Rakosi, and John Cage and language poets Susan Howe, Lyn Hejinian, Bruce Andrews, and Charles Bernstein. His deft individual readings provide an opening into this notoriously difficult work, even as his larger critique reveals a new and clarifying perspective on American modernist and post-modernist avant-garde poetics. Ma shows how we cannot understand these poets according to the usual way of reading but must see how they deliberately use redundancy, unpredictability, and irrationality to undermine the meaning-oriented foundations of American modernism--and to force a new and different kind of reading."--Pub. desc.
Metropolitan Tang
Metropolitan Tang is Linda Bamber's first book of poetry, a debut that is erudite, urban and urbane. Whether she is examining the breakup of her marriage or watching bulls in a field, considering Derrida's concepts of "presence" or her hairdresser's less theoretical philosophy, Ms. Bamber turns over images and ideas until she finds their proper relations, making meaning out of random juxtapositions, sense out of chaos, or, if nothing else, a good joke out of a bad situation. Her voice, sensitive and, at the same time, wry, is clear throughout, uniquely hers.
Mark Twain and the Novel
This book provides a fresh look at Twain's major novels such as Life on the Mississippi, Huckleberry Finn and A Connecticut Yankee in King Arthur's Court.
