John Gery – författare

Hmayeak Shems: A Poet of Pure Spirit presents the life and writings of Armenian poet Hmayeak Shems (1896-1952). The Armenian Genocide of 1915 devastated Shems, who lost his family and home. For eight years he wandered in exile, his voice extinguished by anguish. Yet from debilitating isolation, Shems found a lyrical mastery of Armenian identity and modern spirit. Incontrovertibly shaped by his people's tragic history, Shems speaks simply yet profoundly. Illuminated by his poetry, this biography chronicles his travels, encounters, and thought to reveal a more compelling and complete portrait of Shems than previously known.Cover portrait of Hmayeak Shems by Ashot Zorian.

Hmayeak Shems: A Poet of Pure Spirit presents the life and writings of Armenian poet Hmayeak Shems (1896-1952). The Armenian Genocide of 1915 devastated Shems, who lost his family and home. For eight years he wandered in exile, his voice extinguished by anguish. Yet from debilitating isolation, Shems found a lyrical mastery of Armenian identity and modern spirit. Incontrovertibly shaped by his people''s tragic history, Shems speaks simply yet profoundly. Illuminated by his poetry, this biography chronicles his travels, encounters, and thought to reveal a more compelling and complete portrait of Shems than previously known.Cover portrait of Hmayeak Shems by Ashot Zorian.

The Enemies of Leisure, a collection drawn from a decade of writing, wonders about the odd paradoxes of pleasure and mindfulness, leisure and labor, invisibility and truth. Bound by Aristotle’s comment, “Happiness appears to depend on leisure,” the book divides into four sections, gathering poems concerned with sex and love, home and distances, idleness and work, and uncertainty and death. Mixing traditional and open forms, as well as high and low idioms, these poems’ symmetry depends on remaining always precise without making too much sense, as they yoke the influences of Ashbery and Rich, Dorn and Wilbur, poets otherwise as estranged from each other as waffles from lust, domestic chores from Beauty and the Beast, ideas from hamburgers, and dying from a train trip cross country.There are “no things / without the ideas we call them by,” proclaims the book’s opening poem, “American Ghost,” inverting Williams’s dictum not to undermine the dominant aesthetic principle of contemporary American poetry so much as to turn it inside out, to make room for a poetry that oscillates between the ghostly presence of thought and the constant fading of experience. Making their bleak way forward toward the new millennium from the barracuda under a tropical bay to “above the abundant sand of the Sudan,” these poems express the importance of being “grateful for / those interruptions in the blink / of time we had,” while cultivating “the grace to know what to ignore.”

The Enemies of Leisure, a collection drawn from a decade of writing, wonders about the odd paradoxes of pleasure and mindfulness, leisure and labor, invisibility and truth. Bound by Aristotle’s comment, “Happiness appears to depend on leisure,” the book divides into four sections, gathering poems concerned with sex and love, home and distances, idleness and work, and uncertainty and death. Mixing traditional and open forms, as well as high and low idioms, these poems’ symmetry depends on remaining always precise without making too much sense, as they yoke the influences of Ashbery and Rich, Dorn and Wilbur, poets otherwise as estranged from each other as waffles from lust, domestic chores from Beauty and the Beast, ideas from hamburgers, and dying from a train trip cross country.There are “no things / without the ideas we call them by,” proclaims the book’s opening poem, “American Ghost,” inverting Williams’s dictum not to undermine the dominant aesthetic principle of contemporary American poetry so much as to turn it inside out, to make room for a poetry that oscillates between the ghostly presence of thought and the constant fading of experience. Making their bleak way forward toward the new millennium from the barracuda under a tropical bay to “above the abundant sand of the Sudan,” these poems express the importance of being “grateful for / those interruptions in the blink / of time we had,” while cultivating “the grace to know what to ignore.”

Award for the Best Collection of Essays on Culture in English Language in its 2024 by by AEDEAN (The Spanish Association of Anglo-American Studies)This collection offers for the first time criticism, biographical essays, analysis, translation studies, and reminiscences of Ezra Pound’s extensive interaction with Spain and Spanish culture, from his earliest visits to Spain in 1902 and 1906 and his study of significant Spanish writers to the dedication of the first monument erected anywhere to Pound in the small Spanish village of Medinaceli in 1973. Divided into two sections, Part One: “ON EZRA POUND AND THE SPANISH WORLD” includes a general introduction on Pound’s lifelong involvement with Spain, together with chapters on Pound’s study of classical Spanish literature, the Spanish dimension in The Cantos, Pound’s contemporary Spanish connections, and his legacy in contemporary Spanish letters. Part Two: “EZRA POUND AND THE SPANISH WORLD: A READER,” then gathers for the first time Pound’s own writings (postcards, letters, and essays) concerning Spain and Spanish writers, as well as his correspondence with Spanish poets Miguel de Unamuno and Juan Ramón Jiménez and with José Vázquez Amaral, the first Spanish translator of The Cantos in its entirety. The volume includes reminiscences by Spanish Novísimos poets, Antonio Colinas and Jaime Siles, written explicitly for this collection. Besides providing a thorough exploration into Pound’s engagement with Spain, this volume pays homage to Pound’s considerable influence on Spanish culture.

This volume gathers fifteen essays that offer new interpretations on Pound’s poetics, as well as new perspectives on his critical reception globally. It includes authors from nine different countries and covers Pound’s work from his beginnings as a young poet in Philadelphia in the first decade of the century through his most productive years as a poet, critic, and translator to the first critical treatments of his work in the 1940s and 50s, and on to translations of The Cantos spanning the last fifty years. Although, in our own era, such terms as “cross-cultural thinking,” “globalism,” “transnationalism,” and “internationalism” remain fluid and can often stir controversy in literary studies, especially in discussion of the impact of modernism, the place of Ezra Pound as a prominent modernist figure worldwide has remained unquestioned throughout the last century.