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Across the Difficult
Tamam Kahn's poetry carries bright exuberance, as well as empathy and sorrow. Her work is inspired by the mystical Middle East, and her time in Morocco and Syria. The poems are anchored with her research on women from early Islam to today. Anecdotes from history are mixed with today's unchosen difficulties. The reader is introduced to the remarkable Rabia of Basra (Rabi'a al-Adawiyya), eighth-century leader on the path of Unity of Being. What would it be like to meet with her today? Across the Difficult presents tales of other famous mothers such as Eve (known as Grandmother Eve in Arabia), Hagar, Sayyida Zaynab-granddaughter of Prophet Muhammad, her niece Ruqayya, and Fatima al-Fihri, founder of the great Qarawiyyin University, who changed history with her life's work. The brutal difficulties of living at this time in countries such as Afghanistan, Syria, Ukraine and other countries, are included in the final poems.
Doorkeeper of the Heart
Rabia is the original Sufi poet-saint, a predecessor to Rumi. Her fiery verses & teaching stories are designed to challenge us, and incite illumination. --Pir Press.
Santa Tarantula
The poems in Santa Tarantula grant an urgent and haunting voice to the voiceless, explore ancient narratives, delve into Cuban history and identity, and confront trauma and violence. Jordan Pérez explores the tension between fear and reprieve, between hopelessness and light, in her debut collection, Santa Tarantula, the tenth winner of the Andrés Montoya Poetry Prize. Pérez lends voices to the forgotten: to the political dissidents, gay men, and religious minorities imprisoned in the forced-labor camps of 1960s Cuba; to biblical women who were deemed unworthy to name; to survivors of sexual violence who grapple with paralyzing fear and isolation. With rich detail, these poems weave together the stories of those who go unheard with family memories, explore moments of unspeakable tragedy with glimpses of a life beyond the trauma, and draw out what it means to be vulnerable and the strength it takes to endure. Santa Tarantula pushes through the darkness, cataloging unspoken pain and multigenerational damage, and revealing that, sometimes, survival is in the telling.
La santa
Con este libro, el autor corona en su escritura un proceso de alto riesgo y un compromiso mayor hacia esas regiones del alma que no permiten ser explicadas, que sólo la poesía, en cuanto fuerza vibrante y sonora, presenta en su esplendor. Pero este esplendor es un misterio que puede manifestarse como la boca permanentemente sedienta del amor que no consigue paz, pues se traiciona y dobla, o se desata en furia hacia el alabastro de las piernas de la amada. Aquí el lenguaje es ese mismo amor que se desmantela, se acuartela, se constriñe, se pliega y repliega, se oscurece, delira. Son muchos los registros que este lenguaje plasma, y estos registros son el mismo dolor, la misma angustia, la duda como infierno. Entonces muere de pena el dolor, se convierte en rabia, se adelgaza y limpia hasta destellar pleno fulgor en el último poema: "La santa". Limpio y cristalino de arrobar en los campos en los que ser y lenguaje, paisaje y entraña, son una misma cosa.
Sarajevo Roses
Shortlisted for the 2019 Ledbury Forte Poetry Prize for Second Collections. Sarajevo Roses is Rory Waterman's second collection of poems. From the start we are in the company of a poet on the move . On sleeper trains, in cars and on foot, Waterman takes us into Mediterranean Europe, to Palma's Bellver Castle, to Venice, to Krujë, to the Italian ghost-town Craco, and to St Peter's Basilica in Vatican City, where 'selfie-sticks dance before us at the altar'. Sarajevo's 'neatened muddle of terracotta and concrete' is twinned with the 'church spires and rain-bright roofs' of the poet's former hometown, Lincoln. The Sarajevo rose of the book's title – a mortar crater filled with red resin, in remembrance – is less an overarching symbol here than one example of the past inscribed upon the present – culturally in our architecture, individually on our bodies – and of the instinct to preserve wounds as a mark of respect, or warning. Surrounded by the war-shaped, memorial landscapes of Europe, the poet is faced by those smaller wars and memorials one carries within, marks left by lovers, friends, relations, and past selves.
Ser en la rosa
La rosa de fuego de Andrés Bermúdez se enciende y apaga al ritmo de los astros. Si de día, florece en la luz, deslumbra; si de noche, doloroso rescoldo, retorna impaciente al origen, se adormece hasta la llegada del alba. Rosa mística, erótica, fugaz, reveladora, en su espiral persiste el misterio de la vida, gesta la muerte. Rosa/enigma, despeja los velos de la niebla. Su aroma arrebata, embriaga, conduce al incierto destino de la palabra. Cuando nos acoge en el regazo de su pecho de madre/flor, ¡silencio!: calor emite; un arrullo apenas; ese tenue susurro; universal consuelo»
La forja del verso
El sujeto lírico de La forja del verso observa y fabula los movimientos de la luz, las sinuosidades de la oscuridad, las imprevistas direcciones de los vientos, las álgidas derivas de las aguas, las formas de la tierra, el paso de animales y astros metafóricos y físicos. Desde el marco de un itinerario estético, ético y filosófico, y sin dejar de reconocer los universos del desgarramiento y la evanescencia, ese sujeto descubre un júbilo en el que habitan, pese a todo, la templanza y la serenidad; encuentra espacios de donde emergen incesantes puertos de la plenitud. Allí, entre las caras de la oscuridad, esta escritura revela la memorable fuerza del fulgor. Entre las emanaciones de la herida, propone los surcos de ternuras antiguas o renovadas. Entre las agitaciones de la pérdida, destaca el vigor de lo que alguna vez estuvo presente. Entre los sismos de la muerte, no deja de nombrar la sorpresa de la regeneración. Al mismo tiempo delicada y contundente, esta poesía alude a la fiesta, a la danza, a la incontestable manifestación de los vuelos y las raíces. La forja del verso es, en definitiva, una ceremonia profunda alrededor de la vida misma. JAIME MORALES QUANT
Este día nunca volverá
En estos poemas la cotidianidad es un espejismo que construye su propia trascendencia. Carlos Colón Ruiz celebra así la contradicción y el dinamismo de una actualidad donde se racionan los afectos y desaparecen las imágenes del otro. Son tiempos de mindfulness y corrientes espiritualistas, pero aquí el poeta se abandona a la frugalidad de los días, sumando anotaciones para un posible poema, ese auténtico registro del cuerpo y la caducidad. Asumir la realidad es un modo de vencerla y transformarla. Por eso, la aparente sencillez de los versos conforma un camino de encuadres cinematográficos donde nadie es protagonista. Como advirtió Pasolini, todos estamos en peligro. Este día nunca volverá sugiere dos maneras de salvarse: "brincar de luz en luz" o "existir hasta que algo relevante suceda." MARTA JAZMÍN GARCÍA
Exhausted on the Cross
A much-anticipated follow-up to Nothing More to Lose, this is only the second poetry collection translated into English from a vital voice of Arabic literature. “We drag histories behind us,” the Palestinian poet Najwan Darwish writes in Exhausted on the Cross, “here / where there’s neither land / nor sky.” In pared-down lines, brilliantly translated from the Arabic by Kareem James Abu-Zeid, Darwish records what Raúl Zurita describes as “something immemorial, almost unspeakable”—a poetry driven by a “moral imperative” to be a “colossal record of violence and, at the same time, the no less colossal record of compassion.” Darwish’s poems cross histories, cultures, and geographies, taking us from the grime of modern-day Shatila and the opulence of medieval Baghdad to the gardens of Samarkand and the open-air prison of present-day Gaza. We join the Persian poet Hafez in the conquered city of Shiraz and converse with the Prophet Mohammad in Medina. Poem after poem evokes the humor in the face of despair, the hope in the face of nightmare.
