Carol Snow – författare

First comes love, then comes marriage, then . . . things can get a little complicated. Vanessa wants just one thing for her twenty-ninth birthday: an engagement ring from her longtime boyfriend, Eric. But when the ring turns out to be a mix CD and Eric turns out to be a guy who doesn't want to get married or have children, Vanessa considers a new path to having a family.When Wendy and her husband, Darren, couldn't have children the old- fashioned way, a sperm donor seemed like the perfect solution. She never imagined she'd have out-of-control twins who'd drive her to cookie binges and scrapbooking while Darren escaped into the virtual world of computer games.Single and career-driven, Laura didn't need a man to have a baby - at least not one that she ever met. Thanks to an anonymous donor, she shares her life with her adored eight-year-old son, Ian. She'll do anything for Ian - even fill their backyard with a bunch of noisy chickens. But the one thing Ian really wants is something Laura's never been able to give him: a sibling.Now, to grant Ian's wish, Laura starts a search that will not only change her life but Vanessa's and Wendy's as well...

Carol Snow's award-winning poetry has been admired and celebrated as 'work of difficult beauty' (Robert Hass), 'ever restless, ever re-framing the frame of reference' ("Boston Review"), teaching us 'how brutally self-transforming a verbal action can be when undertaken in good faith' (Jorie Graham). In this, her third volume, Snow continues to mine the language to its most mysterious depths and to explore the possibilities its meanings and mechanics hold for definition, transformation, and emotional truth. These poems place us before, and in, language - as we stand before, and in, the world. "The Seventy Prepositions" comprises three suites of poems. The first, 'Vocabulary Sentences', reflects on words and reality by taking as a formal motif the sort of sentences used to test vocabulary skills in elementary school. The poems of the second suite, 'Vantage', gather loosely around questions of perspective and perception. The closing suite finds its inspiration in the Japanese dry-landscape gardens known as karesansui, such as the famous rock garden at Ryoan-ji Temple in Kyoto.Here the poet approaches composition as one faces a 'miniature Zen garden', choosing and positioning words rather than stones, formally, precisely, evocatively.