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Author: Aaron Poochigian
Publisher: Able Muse Press
ISBN: 1927409934
Category : Poetry
Languages : en
Pages : 90
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Book Description
Aaron Poochigian’s prizewinning second collection of poetry, Manhattanite, is by turns frenzied and focused. It examines New York’s juxtaposed symbols of towering achievement and monumental desolation, and then traverses the country to California’s Central Valley, where the poet reclaims his grandparents’ home. Poochigian consistently entertains, whether his theme is lamentation or celebration—a grizzled urban pigeon (scavenging for “the sort of faith/ that holds for here and now and vibes like song”) or an Ohio wind turbine (an “ungatherable/ iron flower” seen “juggling . . . / three arms’ worth/ of gale-force wind”). Manhattanite is, deservedly, the winner of the 2016 Able Muse Book Award. PRAISE FOR MANHATTANITE: In Manhattanite, Aaron Poochigian takes on the role of American flâneur for the twenty-first century, drifting through the frenetic metropolis at a dreamer’s planetary pace. This collection is a celebration of exuberant melancholy, or melancholy exuberance, slick lyric cum urbane pastoral. —A. E. Stallings (from the foreword), 2016 Able Muse Book Award judge Manhattanite gives us the Manhattan of speed chess players in the park, tipsy tipplers tipping off the rooftops, the night sky bright with city light, tenants, tenements and supers. Aaron Poochigian is the poet in New York seeking a holy aura in the song of gunshots and spiral sirens, picking like a grizzled pigeon through stray newspapers, bottles, bags, and candy wrappers for a scrap of religion. Each poem is a tower growing out of our human filth and scraping the sky with sky-lines, and together they build a city of words. Put New York in your pocket. It’s inside this book. —Tony Barnstone Reading Aaron Poochigian’s Manhattanite is a dynamic, kinetic experience. These poems travel at a fast clip, pulling you along through cityscapes, wastelands, and other vistas. Some of the poems tunnel downward, plumbing depths of mood and memory. Whichever way they move, Poochigian’s poems perform with such panache and brio that it’s hard to know whether to laugh or cry. I’d say do both—and keep reading. But be warned: this isn’t a feel-good book. It’s a fearless book. —Rachel Hadas Thoreau once boasted that he had traveled widely in Concord; Aaron Poochigian’s title indicates that he has traveled widely elsewhere—in the one borough worth experiencing, through western deserts, aboard “an ultra-modern train/ lisping through French or German woods,” and in a Paris of naked bulbs and seedy cabarets. In all of these settings, he deftly choreographs his cast of nameless characters. The concluding lines of “Song: Go and Do It” claim, “I’ll still swear/ we could be happy anywhere.” One sure location of that “anywhere” exists between the covers of Manhattanite. —R. S. Gwynn
Author: Aaron Poochigian
Publisher: Able Muse Press
ISBN: 1927409934
Category : Poetry
Languages : en
Pages : 90
Get Book Here
Book Description
Aaron Poochigian’s prizewinning second collection of poetry, Manhattanite, is by turns frenzied and focused. It examines New York’s juxtaposed symbols of towering achievement and monumental desolation, and then traverses the country to California’s Central Valley, where the poet reclaims his grandparents’ home. Poochigian consistently entertains, whether his theme is lamentation or celebration—a grizzled urban pigeon (scavenging for “the sort of faith/ that holds for here and now and vibes like song”) or an Ohio wind turbine (an “ungatherable/ iron flower” seen “juggling . . . / three arms’ worth/ of gale-force wind”). Manhattanite is, deservedly, the winner of the 2016 Able Muse Book Award. PRAISE FOR MANHATTANITE: In Manhattanite, Aaron Poochigian takes on the role of American flâneur for the twenty-first century, drifting through the frenetic metropolis at a dreamer’s planetary pace. This collection is a celebration of exuberant melancholy, or melancholy exuberance, slick lyric cum urbane pastoral. —A. E. Stallings (from the foreword), 2016 Able Muse Book Award judge Manhattanite gives us the Manhattan of speed chess players in the park, tipsy tipplers tipping off the rooftops, the night sky bright with city light, tenants, tenements and supers. Aaron Poochigian is the poet in New York seeking a holy aura in the song of gunshots and spiral sirens, picking like a grizzled pigeon through stray newspapers, bottles, bags, and candy wrappers for a scrap of religion. Each poem is a tower growing out of our human filth and scraping the sky with sky-lines, and together they build a city of words. Put New York in your pocket. It’s inside this book. —Tony Barnstone Reading Aaron Poochigian’s Manhattanite is a dynamic, kinetic experience. These poems travel at a fast clip, pulling you along through cityscapes, wastelands, and other vistas. Some of the poems tunnel downward, plumbing depths of mood and memory. Whichever way they move, Poochigian’s poems perform with such panache and brio that it’s hard to know whether to laugh or cry. I’d say do both—and keep reading. But be warned: this isn’t a feel-good book. It’s a fearless book. —Rachel Hadas Thoreau once boasted that he had traveled widely in Concord; Aaron Poochigian’s title indicates that he has traveled widely elsewhere—in the one borough worth experiencing, through western deserts, aboard “an ultra-modern train/ lisping through French or German woods,” and in a Paris of naked bulbs and seedy cabarets. In all of these settings, he deftly choreographs his cast of nameless characters. The concluding lines of “Song: Go and Do It” claim, “I’ll still swear/ we could be happy anywhere.” One sure location of that “anywhere” exists between the covers of Manhattanite. —R. S. Gwynn
Author: Amy Glynn
Publisher: Able Muse Press
ISBN: 1773491415
Category : Poetry
Languages : en
Pages : 108
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Book Description
Amy Glynn's Romance Language is a wellspring of culture, nature, natural phenomena, myths, esoterica. A kaleidoscope of sciences and disciplines—spanning archeology, acoustics, botany, zoology, psychology, cosmology, meteorology, mythology—are freely juxtaposed with the bliss of romance gained to longing for the one lost, the celebration of nature and the teeming creatures therein to hope for their enduring sustenance. A logophilic showcase and worthy winner of the 2022 Able Muse Book Award, Romance Language transports the reader into a sensory and cerebral world of the real and imagined, ever reaching for stimulus, wisdom, understanding, and enlightenment. PRAISE FOR ROMANCE LANGUAGE Romance Language thrills to the natural world in all its boggling multiplicity, while reserving a barrage of tart ironies for the fallen humans who inhabit it—the lovers who fail us and those, long gone, we can never let go of. Glynn understands that science is no check to mystery, that we subsist in “an ocean of cadence” that was here before us: “The beginning was music. There was music first.” Her songs channel that original music “of tide, chaos, and rhythm” with such fierceness and sorrow that we are compelled to listen. Their effect is revelatory. —David Yezzi, author of More Things in Heaven and Late Romance: Anthony Hecht The poems in Romance Language consistently, and seemingly without effort, manage a remarkable feat: they’re unfailingly attentive to the situational subtext that underlies each foray, whether into nature, art, or mythology. With their rueful irony and wit, their candor and self-awareness, these poems are not only technically flawless but also insistently, and sometimes tetchily, human. —Rachel Hadas, 2022 Able Muse Book Award judge, author of Love and Dread Amy Glynn has built upon her naturalist’s precision, her musician’s ear, and her talent for unexpected but apt metaphor, with a heightened attention to what we learn in love. Romance Language is as much about language, though, as it is about romance. Glynn is a dazzling word-hoarder and -shaper. With serious wit, she entwines autobiography with the life of other creatures (most beautifully, birds) and knows our own scale in the landscape and seascape. For all her artifice, her plainest truths are the most moving, as when she hopes for a “gift // for seeing as a gift whatever happens / to us.” These poems “happen” to the reader as a great gift, too. —Mary Jo Salter, author of Zoom Rooms and The Surveyors Glynn brings a polymathic sensibility to her writing, conversant in both high and vernacular diction on subjects ranging widely from science and classical literature to current politics and pop culture. The poems—bold, vibrant, mercurial, mysterious, sometimes wickedly funny, and always highly musical—remind me that form is a living, breathing part of our contemporary canon. Whether fixed like the sonnet or ghazal, or nonce, or free verse—these poems are constructed with great passion and precision, and the result is a luminous, powerful, and utterly original outpouring. —Rebecca Foust, author of Paradise Drive and Only ABOUT THE AUTHOR: Amy Glynn is a poet and essayist whose work appears widely in journals and anthologies including The Best American Poetry. She is the author of A Modern Herbal (Measure Press, 2013). She has received the Troubadour Prize, The SPUR Award of the Academy of Western Writers, Poetry Northwest’s Carolyn Kizer Award, and two James Merrill House fellowships, among other honors. She lives in the San Francisco Bay Area.
Author: Len Krisak
Publisher: Able Muse Press
ISBN: 1773490915
Category : Poetry
Languages : en
Pages : 59
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Book Description
In exquisitely crafted poems, Len Krisak’s Say What You Will muses on a wide range of topics, in present-day and historic settings and relevance: ancient Tiberius, modern-day Halloween, cinema icons, and famous artwork, to name a few. Also included are accomplished translations that bring alive the meaning, feeling, and rhythm of the originals. These are poems delightfully wrought in masterful metrical poetry—nonce forms, sonnet, cento, quatrains, and others. This winner of the 2020 Able Muse Book Award is a collection filled with enlightenment, wonder, and inspiration. PRAISE FOR SAY WHAT YOU WILL With unerring artistry, Len Krisak’s poems in Say What You Will extend an invitation with enormous erudition, sure, but equally with wit and charm, solemnity and grace, in this exquisite book. —Greg Williamson, author of A Most Marvelous Piece of Luck In Len Krisak’s Say What You Will, a voice comes to us from out of the Midwest, by way of ancient Italy. A formidable translator of Vergil and Horace, Krisak is attuned to echoes lingering in those gorgeous classical ruins that will outlast our century’s bravest new structures. He’s also attuned to the here-and-now in all its incongruities, a place where (in Krisak’s hands) Chinese takeout turns out to rhyme with stakeout. These are footloose poems, happily ambling here and there, so the reader is hardly surprised if on one page you’re in Russia and in another you’re contemplating the Boston subway, or if one of Vermeer’s silent beauties winds up beside the silent film star Louise Brooks. Say What You Will is a smart and kindly book. —Brad Leithauser, 2020 Able Muse Book Award judge, author of Rhyme's Rooms Readers should welcome Say What You Will, the newest book of accessible but challenging poems by Len Krisak. His subjects range from high culture to pop culture, and his well-crafted translations range from the ancient Greeks to Montale. This is one of the best collections of poetry in this pandemic year. —A. M. Juster, author of Wonder and Wrath ABOUT THE AUTHOR: Len Krisak graduated from the University of Michigan in 1970 and took his MA from Brandeis University in 1974. In Massachusetts, he worked as a textbook editor and English teacher at Brandeis, Northeastern University, Bentley University, and Stonehill College before retiring in 2010 to write poems and translate.
Author: Aaron Poochigian
Publisher:
ISBN: 9781927409923
Category : Poetry
Languages : en
Pages : 90
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Book Description
Manhattanite, winner of the 2016 Able Muse Book Award, explores, interrogates, or strives within a New York experience shaded with challenge and menace, or illumed with magnificence. It may quest for "a cosmic cause" or for "faith/ that holds for here and now." And here and there, it bursts into song of celebration, love or lamentation.
Author: Stephen Gibson
Publisher: Able Muse Press
ISBN: 1773490931
Category : Poetry
Languages : en
Pages : 76
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Book Description
Reimagining the iconic Mexican artist's life and relationships, Stephen Gibson's Frida Kahlo in Fort Lauderdale explores Kahlo's passions and pains through vivid persona poems. Realized entirely in a modified triolet form, the collection is essentially an ekphrastic epic inspired by the paintings, photos, and personal effects on display in a 2015 Fort Lauderdale exhibition. Gibson probes the artist’s inner world, giving voice to Kahlo's desires, anguish, and defiant spirit. He conjures her crippling injuries from a bus accident, her tumultuous marriage to Diego Rivera, and her affairs with Leon Trotsky and others, all filtered through her fervent art. This innovative collection brings Frida Kahlo’s singular vision to life in visceral contemporary verse. PRAISE FOR FRIDA KAHLO IN FORT LAUDERDALE: In this book of incantations Stephen Gibson says, “What one loathes and desires can be the same thing,” and those two strands weave through these poems like a double helix of beauty and repulsion. The trolley accident that impaled Kahlo comes up over and over, and each time there is a new layer added to the story in much the same way a painter adds layers to a portrait. These are poems, but they are also music and paintings that give the lucky reader a luminous vision of this woman who forged a life of beauty out of the wreck of her pain. — Barbara Hamby, author of Holoholo Frida Kahlo in Fort Lauderdale is composed entirely of triolets about the artist and her paintings. The overall effect is akin to pointillism: the collection’s fifty-seven triolets blend in the reader’s consciousness much as the tiny dots of various colors in a pointillist painting blend in a viewer’s eye to form a coherent image. In this case, the image is of Frida Kahlo, the renowned Mexican painter known for her many portraits and self-portraits. Gibson—brilliant as always in his mastery of formal poetic structures—has crafted a portrait of Kahlo that reads as a single long poem, and yet resonates in the mind as something painterly, a shimmering, vibrant portrait of an artist. — Edward Falco, author of Wolf Moon Blood Moon These punchy little poems rat-a-tat the reader like a boxer’s jab-cross-uppercut. The immediate subject is Frida Kahlo and Diego Rivera’s bughouse marriage, but this is really a book for everyone. Even the happiest of married couples will react with some version of been there, done that. Divorce lawyers will get dollar signs in their eyes. Young singles will find Frida Kahlo in Fort Lauderdale a useful road map through the minefield of conjugal bliss. Mainly, though, these poems are for poetry lovers. They’re smart, they’re funny, and they sting like hell—they sting you in a way that makes you say, sting me again. — David Kirby, author of Help Me, Information ABOUT THE AUTHOR: Stephen Gibson’s seventh poetry collection Self-Portrait in a Door-Length Mirror won the Miller Williams Poetry Prize, selected by Billy Collins. Earlier collections have won the Donald Justice Prize, Idaho Prize for Poetry, and the MARGIE Book Prize. His poems have appeared in such journals as Able Muse, American Arts Quarterly, the American Journal of Poetry, Boulevard, Cimarron Review, Copper Nickel, Court Green, the Evansville Review, EPOCH, Field, the Gettysburg Review, the Hudson Review, the Iowa Review, J Journal, Measure, New England Review, Notre Dame Review, the Paris Review, Pleiades, Ploughshares, Poetry, Prairie Schooner, Quiddity, Raleigh Review, Salamander, the Sewanee Review, Shenandoah, Southern Poetry Review, the Southern Review, Southwest Review, Upstreet, the Yale Review, and elsewhere.
Author: Janis Harrington
Publisher: Able Muse Press
ISBN: 1773490958
Category : Poetry
Languages : en
Pages : 96
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Book Description
Janis Harrington’s How to Cut a Woman in Half is a testament to resiliency in the throes of mounting family tragedies and trials “beyond human comprehension.” This odyssey from loss toward recovery and hope celebrates the boundless love and support between siblings. Using an adapted sonnet form, Harrington has wrought a taut and spellbinding tale in this finalist for the 2020 Able Muse Book Award. PRAISE FOR HOW TO CUT A WOMAN IN HALF: In this stunning sequence of sonnets—a sequence that reads like a novel, in which each sonnet is so masterfully crafted that its form disappears into the story it tells—Janis Harrington spins a larger narrative of intergenerational family tragedy, but also of sisterly devotion and resilience. The whole sweep of it is so compelling that once I started reading, I couldn’t stop. How to Cut a Woman in Half takes the reader through shock and grief and then, very subtly and tenderly, back from the edge of an abyss. —Cecilia Woloch, author of Tsigan: The Gypsy Poem and Earth These deft narrative sonnets beautifully contain painful restraint and the breaking of sorrow; the slant and partial rhymes refuse to meet expectations for grieving an intentional death: “We look at each other, still / as the motionless hands on the clock’s face, / marooned in this spotless, silent house, / nothing on the horizon to save us.” The sisters save each other, learning to appreciate “the ordinary miracle of dawn.” —April Ossmann, author of Anxious Music and Event Boundaries These carefully wrought sonnets take readers on a journey “to grief’s center” as the speaker supports her sister through new widowhood and, in the process, rediscovers and explores her own submerged grief. Many poems take place in the liminal space between “living and not,” bardo moments that contain “all my life’s partings.” It is striking how fully present the speaker is in the experience of mourning, and how well suited the sonnet form is for containing such deeply personal wells of human sorrow. A beautiful and healing read. —Rebecca Foust, author of Paradise Drive and Only ABOUT THE AUTHOR: Janis Harrington’s first book, Waiting for the Hurricane, won the Lena M. Shull Book Award from the North Carolina Poetry Society. Her poems have appeared in journals and anthologies, including: Tar River Poetry, Journal of the American Medical Association, North Carolina Literary Review, and Beyond Forgetting: Poetry and Prose about Alzheimer’s Disease. She was the runner-up for the White Pine Press Poetry Prize 2020 and a finalist for the 2021 James Applewhite Poetry Prize and the 2022 Randall Jarrell Poetry Competition. After living in Switzerland for many years, she and her husband returned to Chapel Hill, North Carolina. How to Cut a Woman in Half was a finalist for the 2020 Able Muse Book Award.
Author: Richard Wakefield
Publisher: Able Muse Press
ISBN: 1773490699
Category : Poetry
Languages : en
Pages : 100
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Book Description
Richard Wakefield’s third collection of poetry, Terminal Park, bears truthful and often wryly humorous witness to a wide range of human experience. His portraits of life in rural Washington State are particularly compelling, in a way that evokes the best of Frost without sacrificing Wakefield's own distinctive voice. A showcase of given and nonce forms, Terminal Park is the work of a master craftsman, delivered with wit, empathy, and grace. PRAISE FOR TERMINAL PARK Richard Wakefield's Terminal Park is a triumph from a master of formal poetry with a bit of a Zen streak. Alternately wistful, wry, and joyous, Wakefield takes on a wide range of subjects without anger or rhetoric. My favorites were the many elegiac landscape poems, which reminded me of the some of the best poems of Robert Frost. —A.M. Juster, author of Wonder and Wrath This new volume reveals a poet whose mastery of form will amaze readers. Richard Wakefield lives deeply in his world, past and present, touching and feeling everything that surrounds him, alert to every texture, “the grain of wood, the grit of sand.” He scans memory, repossessing luminous and sometimes uncanny moments from his past. A poem is, of course, a system of linked sounds, and Wakefield’s ear never misses the chance for a linking echo. In fact, I love the internal and external rhyming here, done without flash, with a kind of holy decorum. The seasons course through these poems, in literal and figurative flight, but the poet asserts with good reason that “an old man at his kitchen window sees / by winter light.” And it’s the clarity of winter light that makes these poems shimmer. I will return to the pages of Terminal Park again to revel in their wisdom and grace notes. —Jay Parini, author of New and Collected Poems: 1975–2015 Terminal Park ranges widely and dives deep. The book’s opening lines, where bleak subject matter is conveyed by lilting verse, tell us a lot about what will follow: “‘Terminal Park’ reads the vine-covered sign / where junkies and drunks reach the end of the line.” The poet’s mastery is evident throughout, whether depicting desolate rural vignettes, or vividly rendered moments of Biblical, literary, or personal history. Though many poems seem haunted by entropy, decay, suffering, and loss—“The Work of Darkness”—they are leavened by stoicism and humor. Beautifully organized and reflecting a lifetime’s hard-won wisdom, the collection as a whole is not merely enjoyable. It is exhilarating. —Bruce Bennett, author of Just Another Day in Just Our Town ABOUT THE AUTHOR: Richard Wakefield earned his PhD in American literature from the University of Washington and has taught college humanities for forty-two years, thirty-five of them at Tacoma Community College. For over twenty-five years he reviewed poetry, fiction, and literary biography for the Seattle Times. His first book, Robert Frost and the Opposing Lights of the Hour (Peter Lang Publishing), was a study of Frost’s poetry in the context of his life and times. His first collection of poems, East of Early Winters (University of Evansville Press), won the Richard Wilbur Award. His second collection, A Vertical Mile (Able Muse Press), was short-listed for the Poet’s Prize. His poem “Petrarch” won the Howard Nemerov Sonnet Award. He and his wife, Catherine, have been married forty-eight years and have two daughters, two sons-in-law, and two grandchildren.
Author: Rob Wright
Publisher: Able Muse Press
ISBN: 1773490710
Category : Poetry
Languages : en
Pages : 86
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Book Description
Rob Wright's Last Wishes is eclectic and delves into mining grit and lifestyle as fluently as it does into spiritual hopes and despairs, or the mind's lucidity and aberrations. Well-traveled in time and place, Last Wishes' culturally diverse characters and scenes--framed in Philadelphia, Fort Meyers, Manhattan, São Paulo, Kowloon, Majdanek, or elsewhere--are memorable or miserable. Accounts of ghosts and hauntings, imagined or real, include heart-stopping witness narratives of the Holocaust and other atrocities. This is a seasoned inaugural collection--a special honoree for the 2019 Able Muse Book Award. PRAISE FOR LAST WISHES Rob Wright's poems in Last Wishes ache with a quiet, exquisite music. Whether at the edge of the forest, or before a mirror regarding his own face, or at the limit of what a son can feel for his father, Wright calls us to join him on his search for order and meaning, even as he questions what he finds: "The shell that holds all grief and memory, / in chains of molecules that make a mind, / will turn back into atoms, hungry, free. / We're spirits caught inside our skin and hair-- / ephemeral our dramas, spun from air." Such is the breathtaking beauty of Last Wishes, to long for what seems so close and yet, in the end, we cannot know. --Rafael Campo, author of Comfort Measures Only: New and Selected Poems One of Wright's gifts is the age-old poetic magic of conveying beauty in what might at first appear to offer up nothing but ugliness. . . . It is fitting that one of the titles here is "Prologue for an Imaginary Play," because Wright's poems often are, in essence, little plays. The landscapes here are never static; like a photographer, or a cinematographer, Wright captures his subjects at their most revealing in a flash. Scenes are arranged and rendered at the moment of greatest drama and tension. --Alison Hicks (from the foreword), author of You Who Took the Boat Out The first poem in Last Wishes describes in evocatively exact and gritty detail a landscape of abandoned mines, and ends with the poet’s mind reaching out toward the miners who once worked there: “I thought/ how hunger drives a man to crawl beneath/ the brittle crust that shuts out sun and sky.” Moments like this are repeated again and again throughout this obsessively compelling book—a surface (often enough a fairly bleak one) is described in richly precise detail, and out of it pasts, ghosts, the dead, revenants and spectral appearances emerge with a kind of beckoning, unreachable clarity that is at times wistful and at times brutal. If these poems were photographs most of them would be in grimmest black and white, but they would make a most marvelously enthralling exhibition. —Dick Davis, author of Faces of Love: Hafez and the Poets of Shiraz
Author: Maryann Corbett
Publisher: Able Muse Press
ISBN: 1773490540
Category : Poetry
Languages : en
Pages : 92
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Book Description
In Code was born out of Maryann Corbett’s years of work for the Minnesota Legislature, with a nonpartisan office that mandated that she maintain a public silence about politics. In poems that go from elegiac to fiery to funny, she examines behind-the-scenes legislative labor and the people who do it, the tensions of working for government in a climate hostile to government, and the buildings and grounds that put a beautiful face on a history full of ambiguities. This well-honed collection, Corbett's fifth, reflects on doublespeak and public poses; on coworkers and commutes; on legalese, courts, and elections; on news and history; and at last on retirement—through poems masterfully deployed in a dazzling array of forms: including the prose poem, the sonnet, the ghazal, the villanelle, and the canzone. Maryann Corbett is a candid, wistful, purposeful, and meditative poet in command of her craft. Of her years working for the Minnesota Legislature, Maryann Corbett writes in Rattle: "There was the frisson supplied by the constant presence of the media, the satisfaction of believing one's work served the public, the thrill of working with smart, motivated people, the pleasure of being surrounded by the striking buildings and gardens of the Capitol grounds, the sense of history. There was also the uncomfortable awareness that with every legislative session there are winners and losers, and that the same battles for justice are fought, and often lost, by the same people, year after year." In Code features poems that reflect on both those pleasures and that discomfort, as in these lines from "Seven Little Poems about Making Laws": Capitol café: German proverbs, whitewashed since 1917, are restored to view with bright applause. Old hatreds have new objects now. PRAISE FOR MARYANN CORBETT: Ned Balbo: . . . an extraordinary poet. Tony Barnstone: . . . metrical poetry infused with gorgeous imagery and the vernacular of our scientized world. Richard Wilbur: . . . accurate and delightful. Rhina P. Espaillat: . . . every section touches me and keeps calling me back. A.M. Juster: . . . wit without meanness, warmth without sentimentality, and craft without pretension. Geoffrey Brock: . . . one of the best-kept secrets of American poetry. Marilyn Taylor: . . . poignant, perceptive, exquisitely formed poems . . . a poet to be genuinely grateful for. Peter Campion: . . . a poet of the first order. Willis Barnstone: . . . a newborn Robert Frost, with a wicked eye for contemporary life. Susan McLean: . . . a stunner. ABOUT THE AUTHOR: Maryann Corbett earned a doctorate in English in 1981, with a specialization in medieval literature and linguistics. She expected to be teaching Beowulf and Chaucer and the history of the English language. Instead, she spent almost thirty-five years working for the Minnesota Legislature, helping attorneys to write in plain English and coordinating the creation of finding aids for the law. She is the author of five books of poetry and is a past winner of the Richard Wilbur Award and the Willis Barnstone Translation Prize. Her work is widely published in journals on both sides of the Atlantic and is included in anthologies like Measure for Measure: An Anthology of Poetic Meters and The Best American Poetry 2018.
Author: Ellen Kaufman
Publisher: Able Muse Press
ISBN: 1773490672
Category : Poetry
Languages : en
Pages : 92
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Book Description
Ellen Kaufman's Double-Parked, with Tosca navigates the natural and the manmade-often with an eye on their strained juxtaposition-or unravels the complex dynamics of the physical, social, and political. Kaufman can go from elegizing an Elizabethan old dress past to the environmentally conscious "now [when] the polar caps / undress themselves." She weaves the history of early settlements and their challenges and triumphs over the sometime inhospitable land; or negotiates the melding and mismatch of cultures in her native New York City. Kaufman's poems assert their claim inside violence, indifference, and exclusion. This surefooted second collection is a fitting special honoree for the 2019 Able Muse Book Award. PRAISE FOR DOUBLE-PARKED, WITH TOSCA Ellen Kaufman's poems pierce the reader the way a needle pierces fabric. With a stunningly precise apprehension of the real, she stitches immigration histories and the intimacies of family life, cityscapes and suburban developments, the recent past and the perilous future. She has the power to shapeshift, too, so that we experience, as if from inside, the hidden life of a retired battleship, an algae bloom, a bird nesting in a traffic light. Marked by grief, endurance, and the truths of beauty made manifest, these are essential poems. - Jennifer Barber, author of Works on Paper Ellen Kaufman's absolutely terrific second book can fearlessly slash through pretext, but also cohere unlikely pairs through the X-ray delicacy of an ace metaphorist. She can use "he wanted to get laid" as a refrain in a satisfyingly avenging villanelle, and also see how a beret looks like a "fluffy flounder," and a chandelier handed down through generations "rattles like a skeleton." A tick can alternate stanzas with its host, and an orchestra can create a landscape from its instruments. Kaufman uses form-including a masterful crown of sonnets about her father's end of life-and the speaker herself takes form in persona poems of NYC landmarks; of the USS Intrepid, she writes, "the old moon / shuttle Discovery perches / like an aphid on a rose leaf." I bet you never heard that before! And so you will feel about this whole body of poems. Kaufman's wit, her craft, her vision-this book celebrates their collaboration. - Jessica Greenbaum, author of Spilled and Gone As a young person, the best poem I ever read in my life was a Petrarchan sonnet by Ellen Kaufman-before I even knew what a Petrarchan sonnet was. Now, in reading Ellen Kaufman's newest book, Double-Parked, with Tosca, I immediately see everything I want poetry to be: imaginative, evocative, observant, musical, filled with sound and living breath, and brilliant. I can't recommend this book and this author enough. - Nicholas Samaras, author of American Psalm, World Psalm ABOUT THE AUTHOR: Ellen Kaufman's first collection, House Music, was a finalist for the Able Muse Book Award (Able Muse, 2013). A poem from that book won the Morton Marr Poetry Prize awarded by Southwest Review, where it also appeared. Her poems have also been published by Beloit Poetry Journal, Carolina Quarterly, Epoch, Hampden-Sydney Poetry Review, the New Yorker, Poetry Northwest, Salamander, Shenandoah, the Yale Review, and other literary magazines. Twice a MacDowell Fellow (2009 and 2013), she holds an AB from Cornell, and MFA and MSLS degrees from Columbia University. Formerly a poetry reviewer for Library Journal, she now reviews for Publishers Weekly. She lives near Straus Park in upper Manhattan.
