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How Rain Records Its Alphabet
John Tritica's poetry extends from the place where "context meets cortex" in the joyous "practice of observing outside." With the compression of haiku, these poems reveal the sensual lushness of the world and reflect the poet's continuous attempt to "locate the intersection of possible and actual." These are poems from the garden of real life: car alarm, compost, leaking roofs, Chianti, marigolds. Tritica paints his residency in the high desert landscape using invisible truths gathered from "bees feeding in the datura/just popped open. " "Recalling at times the densely textured orchestrations of Hart Crane, Robert Duncan, or Clark Coolidge, Tritica's poetry ultimately stakes out its own territory, adding something of high value to the twentieth-century tradition of experimental lyricism."--Stephen-Paul Martin
In Company
This collection brings together for the first time three generations of poets associated with New Mexico, representing a variety of styles and personalities. The first group--beginning with the distinguished East Coast emigre to Santa Fe Witter Bynner and ending with the New Mexico-born MacArthur fellow Jay Wright--came into their maturities by the 1960s. This era's distinguished roster includes such figures as Charles Tomlinson, Robert Creeley, Nathaniel Tarn, and Simon Ortiz. The second group, including nationally known figures like Joy Harjo, Jimmy Santiago Baca, N. Scott Momaday, and Arthur Sze, became famous in the 1970s and 1980s. The third group, dating mostly to the 1990s, includes some writers familiar only to audiences who frequent coffee houses and poetry slams, as well as authors whose names are familiar both nationally and regionally, among them Demetria Martinez and Kate Horsley. V. B. Price is general editor of the Mary Burritt Christiansen Poetry series. All three editors of In Company are poets.
The Abyss of Representation
From the Copernican revolution of Immanuel Kant to the cognitive mapping of Fredric Jameson to the postcolonial politics of Gayatri Chakravorty Spivak, representation has been posed as both indispensable and impossible. In his pathbreaking work, The Abyss of Representation, George Hartley traces the development of this impossible necessity from its German Idealist roots through Marxist theories of postmodernism, arguing that in this period of skepticism and globalization we are still grappling with issues brought forth during the age of romanticism and revolution. Hartley shows how the modern problem of representation—the inability of a figure to do justice to its object—still haunts tod...
Continuations
"The strength of this book is in its quick-change artistry, the sensation of flux that is continuous, and capable at any moment of erupting into epiphany or surprise." Roo Borson Across great distances and a panorama shaped by words, poets Douglas Barbour and Sheila Murphy began writing in collaboration. Tapped to technology's dance across paper, with thoughts like bright colours coursing across screens, Continuations emerged as the product of a new creator, a "third individual," who writes differently from either poet. Words shapeshifted and poets transformed, Continuations is an intriguing addition to the growing field of collaborative poetry in North American literature.
Exchange Values
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Argo
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Aerial
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Talking Poetry
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Poetic Machinations
The shape, lineation, and prosody of postmodern poems are extravagantly inventive, imbuing both form and content with meaning. Through a survey of American poetry and poetics from the end of World War II to the present, Michael Golston traces the proliferation of these experiments to a growing fascination with allegory in philosophy, linguistics, critical theory, and aesthetics, introducing new strategies for reading American poetry while embedding its formal innovations within the history of intellectual thought. Beginning with Walter Benjamin's explicit understanding of Surrealism as an allegorical art, Golston defines a distinct engagement with allegory among philosophers, theorists, and ...
