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Twenty-Seven Props for a Production of Eine Lebenszeit
“A strutting, dazzling, exhilarating” collection of poems by the Kingsley Tufts Poetry Award–winning author of The Cloud Corporation (The Village Voice). In his critically acclaimed debut collection, Timothy Donnelly pairs an extraordinary gift for rhetorical exuberance with a stunning formal mastery. The title poem conjures an imaginary play, populated by objects, that forms an allegorical rendering of a single lifetime. In “Accidental Species,” he puts forth a remarkable statement about his own efforts as a poet, a humorous ars poetica by way of a heartbreaking lover’s complaint. For its thoughtfulness, range, and sheer energy, Twenty-Seven Props for a Production of Eine Lebenszeit is a remarkable work from one of our most original young poets. “Filled with dreams both romantic and funny . . . [Donnelly’s] self-deprecating surrealism is vivid and often touching.” —Ken Tucker, The Baltimore Sun
Emergency! Behind the Scene
When the world premiere of "Emergency!" was first broadcast in 1972, there were only 12 paramedic units in all of North America. Ten years later, more than half of all Americans were within 10 minutes of a paramedic rescue or ambulance unit, which simply would not have happened without the influence of "Emergency!"
A Northern Light
In 1906, sixteen-year-old Mattie, determined to attend college and be a writer against the wishes of her father and fiance, takes a job at a summer inn where she discovers the truth about the death of a guest. Based on a true story.
The Milk Hours
Winner of the Max Ritvo Poetry Prize: A “luminous [and] memorable” debut that searches widely to ask what it means to exist in a state of loss (Publishers Weekly). “We lived overlooking the walls overlooking the cemetery.” So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy. These are poems of frequent swerves and transformations, which never...
Isn't it Romantic
100 love poems written by younger american poets.
The Late Parade: Poems
A debut collection that welcomes a new modernist aesthetic for the twenty-first century. Aswirl with waking dreams and phantom memories, The Late Parade is a triumph of poetic imagination. To write about one thing, you must first write about another. In Adam Fitzgerald's debut collection, readers discover forty-eight poems that yoke together tones playful and elegiac, nostalgic and absurd. Fitzgerald's shape-shifting inspirations "beckon us to join an urban promenade" (McLane) with a multiplicity of chimerical stops: from the unreal cities of Dubai to the former Soviet Union, from Nigerian spammers and the Virgin Mary to Dr. Johnson and Cat Power. "The glory of this volume is the long title ...
Index of Haunted Houses
This is a book of ghost stories, and for the most part, ghosts are jealous monsters, intent upon our destruction. They never appear overtly here, yet we gradually become aware of their presence the way spirits in haunted houses trod over creaky floors, slam doors, and issue sudden gusts of wind. The poems are Koan-like—the fewer the words, the more charged they are. The engine driving this sense of haunting and loss is money, which Davis describes as “federal bone” boiling around us. Bison in Nebraska are reduced to bones, “seven/standing men/tall” fodder for the fertilizer used by farmers in the 1800s. Though they often specify dates, there’s an equality to the hauntings—every instance has its moment, and persists, despite being in the past, present, or future. If there really was a 1980 or 1848 or 1499, Davis implies it is somewhere. Index of Haunted Houses is spooky and sad—a stunning debut, one that will surprise, convince, and most of all, delight.
What Nature
Poetry that grapples with the intersection of natural and cultural crises. In an age of record-breaking superstorms and environmental degradation, What Nature seeks—through poetry—to make sense of how we interact with and are influenced by nature. Shifting its focus from what has already been lost to what lies ahead, What Nature rejects the sentimentality of traditional nature poetry. Instead, its texts expose and resist the global iniquities that create large-scale human suffering, a world where climate change disproportionately affects the poorest communities. The intersection of natural and cultural crises—like Standing Rock's fight against the Dakota Access Pipeline and the water c...
The Fat Sonnets
Poetry. Women's Studies. Samantha Zighelboim's debut collection conducts a radical re-examination of what we mean by body. In these poems, body is noun, verb and adverb; body is dearly beloved and fiercely rejected; it is by turns a singularly beautiful process and a frightening object. Zighelboim takes the sonnet form as a loose premise, a la Bernadette Mayer, but then explodes, expands, defies and otherwise grows out of supposed formal limits, making language into a living embodiment of the refusal of (institutional, patriarchal, cultural) control. The poet's refusal of the social invisibility of fat bodies is essential. "I am a perfect fucking blossom," Zighelboim writes, and also "I am entitled to the loneliness of my interminable appetite." Offering felt registers as subtle as "The oblique / correspondence between / a soft body / and a thin / layer of / pulp," this is the writing of a sharp and observant world-eater: a cosmophage in the truest sense.
A Timeshare
Winner of the Omnidawn 1st/2nd Poetry Book Prize
