Kim Addonizio – författare

The Poet's Companion presents brief essays on the elements of poetry, technique, and suggested subjects for writing, each followed by distinctive writing exercises. The ups and downs of writing life—including self-doubt and writer's block—are here, along with tips about getting published and writing in the electronic age. On your own, this book can be your "teacher," while groups, in or out of the classroom, can profit from sharing weekly assignments.

A chestnut with a white blaze is scorching across the turf towards the finishing post.

With both passion and precision, Lucifer at the Starlite explores life’s dual nature: good and evil, light and dark, suffering and moments of unexpected joy. Whether looking outward to events on the world stage—the war in Iraq, the 2004 Asian tsunami—or inward at struggles with the self, these poems aim at the heart and against the feeling that Lucifer may have already won the day.from “Lucifer at the Starlite”Here’s my bright idea for life on earth:better management. The CEOhas lost touch with the details. I’m worthas much, but I care; I come down here, I showmy face, I’m a real regular. A toast:To our boys and girls in the war, grindingthrough sand, to everybody here, our hostwho’s mostly mist, like methane rising

Passionate and irreverent, Mortal Trash transports the readers into a world of wit, lament, and desire. In a section called “Over the Bright and Darkened Lands,” canonical poems are torqued into new shapes. “Except Thou Ravish Me,” reimagines John Donne’s famous “Batter my heart, Three-person’d God” as told from the perspective of a victim of domestic violence. Like Pablo Neruda, Addonizio hears “a swarm of objects that call without being answered”: hospital crash carts, lawn gnomes, Evian bottles, wind-up Christmas crèches, edible panties, cracked mirrors. Whether comic, elegiac, or ironic, the poems in Mortal Trash remind us of the beauty and absurdity of our time on earth.From “Scrapbook”:We believe in the one-ton roseand the displaced toilet equally. Our bluesassume you understandnot much, and try to be alive, just as we do,and that it may be helpful to hold the handof someone as lost as you.

Previously considered the domain of bikers and a rite of passage in the services, tattoos have crawled out society's fringes and onto the ankles of starlets and the biceps of bankers. In this volume writers like Herman Melville, Elizabeth McCracken, Ray Bradbury and Sylvia Plath offer stories in which the full tattoo experience is brilliantly captured and explored. The modern tattoo industry is as comfortable on the mall as on the docks, with today's tattoo parlour denizens likely to be folks who work 9-5 or teach economics at the local college, and this collection pulls us into that alluring world, capturing the mysterious fascination this practice has for us and defining the emotions and intensity attached to being tattooed.

“Somewhere between Jo Ann Beard’s The Boys of My Youth and Amy Schumer’s stand-up exists Kim Addonizio’s style of storytelling . . . at once biting and vulnerable, nostalgic without ever veering off into sentimentality.” —Refinery29“Always vital, clever, and seductive, Addonizio is a secular Anne Lamott, a spiritual aunt to Lena Dunham.” —BooklistA dazzling, edgy, laugh-out-loud memoir from the award-winning poet and novelist that reflects on writing, drinking, dating, and more   Kim Addonizio is used to being exposed. As a writer of provocative poems and stories, she has encountered success along with snark: one critic dismissed her as “Charles Bukowski in a sundress.” (“Why not Walt Whitman in a sparkly tutu?” she muses.) Now, in this utterly original memoir in essays, she opens up to chronicle the joys and indignities in the life of a writer wandering through middle age.                Addonizio vividly captures moments of inspiration at the writing desk (or bed) and adventures on the road—from a champagne-and-vodka-fueled one-night stand at a writing conference to sparsely attended readings at remote Midwestern colleges. Her crackling, unfiltered wit brings colorful life to pieces like “What Writers Do All Day,” “How to Fall for a Younger Man,” and “Necrophilia” (that is, sexual attraction to men who are dead inside). And she turns a tender yet still comic eye to her family: her father, who sparked her love of poetry; her mother, a former tennis champion who struggled through Parkinson’s at the end of her life; and her daughter, who at a young age chanced upon some erotica she had written for Penthouse.   At once intimate and outrageous, Addonizio’s memoir radiates all the wit and heartbreak and ever-sexy grittiness that her fans have come to love—and that new readers will not soon forget.From the Trade Paperback edition.

The lives of three characters -- an obsessive-compulsive, a pregnant teenager, and the teen's unborn child -- come together in National Book Award finalist and Pushcart Prize winner Kim Addonizio's unsparingly funny and transcendent debut novel. Diana McBride, a thirty-four-year-old former child pageant contender, now works in a baby store in Long Beach. Between dealing with a catastrophic haircut, the failure of her marriage, and phone calls from her alcoholic mother, Diana has gone off her OCD medication and is trying to cope via washing and cleaning rituals. When pregnant teenager Jamie Ramirez enters the store, Diana's already chaotic world is sent spinning. Jamie can't stand being pregnant. She can't wait to get on with her normal life and give the baby up for adoption. But her yet-to-be-born daughter, Stella, has a fierce will and a destiny to fulfill. And as the magical plot of Little Beauties unfolds, these three characters' lives become linked in ever more surprising ways. With a poet's ear for fresh, evocative language and a deft humor that exposes her characters' foibles, Addonizio perfectly captures the messiness and unexpected beauty of life.

Diana McBride, a thirty-four-year-old former child pageant contender, now works in a baby store in Long Beach. Between dealing with a catastrophic haircut, the failure of her marriage, and phone calls from her alcoholic mother, Diana has gone off her OCD medication and is trying to cope via washing and cleaning rituals. When pregnant teenager Jamie Ramirez enters the store, Diana''s already chaotic world is sent spinning. Jamie can''t stand being pregnant. She can''t wait to get on with her normal life and give the baby up for adoption. But her yet-to-be-born daughter, Stella, has a fierce will and a destiny to fulfill. And as the magical plot of Little Beauties unfolds, these three characters'' lives become linked in ever more surprising ways.

Kim Addonizio’s sharp and irreverent eighth volume, Now We’re Getting Somewhere, is an essential companion to your practice of the Finnish art of kalsarikännit—drinking at home, alone in your underwear, with no intention of going out. Imbued with the poet’s characteristic precision and passion, the collection charts a hazardous course through heartache, climate change, dental work, Outlander, semiotics, and more.Combatting existential gloom with a wicked, seductive energy, Addonizio investigates desire, loss, and the madness of contemporary life. She calls out to Walt Whitman and John Keats, echoes Dorothy Parker, and finds sisterhood with Virginia Woolf.Sometimes confessional, sometimes philosophical, these poems weave from desolation to drollery and clamor with raucous imagery: an insect in high heels, a wolf at an uncomfortable party, a glowing and self-serious guitar.A poet whose “voice lifts from the page, alive and biting” (Sky Sanchez, San Francisco Book Review), Addonizio reminds her reader, "if you think nothing & / no one can / listen I love you joy is coming."

Set in locations from dive bars to Montparnasse Cemetery, from an ancient Greek temple to a tourist shop in Assisi, Exit Opera explores the ever-vexing issues of time, mortality, love, and loss, and considers the roles of art and human connection. Whatever their nominal subject—jazz, zombies, Buddhism, Siberian tigers—these poems make for a compelling mix of humor and pain, difficulty and solace. In a nod to Keats, one of the many fellow travelers in these poems, Addonizio invites us to “[inscribe] a few verses on whatever water / you can find” and assures readers that they are not alone in navigating the challenges and changes of mortal life. As she writes in “My Opera”:The staging is difficult. Exploding starsare involved, high-redshift galaxies, interior chambers,a little country blues, a little jazz guitar, a jam jar containinga tiny ocean & a tinier rowboat rocking gently in the swellsthat I am steering toward you in the dark.

Set in locations from dive bars to Montparnasse Cemetery, from an ancient Greek temple to a tourist shop in Assisi, Exit Opera explores the ever-vexing issues of time, mortality, love and loss, and considers the roles of art and human connection. Whatever their nominal subject–jazz, zombies, Buddhism, Siberian tigers–these poems make for a compelling mix of humour and pain, difficulty and solace. In a nod to Keats, one of the many fellow travellers in these poems, Addonizio invites us to “[inscribe] a few verses on whatever water / you can find” and assures readers that they are not alone in navigating the challenges and changes of mortal life. As she writes in “My Opera”:The staging is difficult.Exploding stars are involved, high-redshift galaxies, interior chambers,a little country blues, a little jazz guitar, a jam jar containinga tiny ocean & a tinier rowboat rocking gently in the swellsthat I am steering toward you in the dark.

America's Kim Addonizio has been called 'one of the nation's most provocative and edgy poets'. Her poetry is renowned both for its gritty, street-wise narrators and for a wicked sense of wit. With passion, precision and irreverent honesty, her poems explore life's dual nature: good and evil, light and dark, joy and suffering, exposing raw emotions often only visible when truly confronting ourselves - jealousy, self-pity, fear, lust.

America’s Kim Addonizio has been called ‘one of the nation’s most provocative and edgy poets’. Her poetry is renowned both for its gritty, street-wise narrators and for a wicked sense of wit. With passion, precision and irreverent honesty, her poems explore life’s dual nature: good and evil, light and dark, joy and suffering, exposing raw emotions often only visible when truly confronting ourselves - jealousy, self-pity, fear, lust. ‘Like any good nighthawk, Addonizio finds Eros and loss inseparable, where they lurk in lovers’ exchanges and at the bottom of empty gin bottles. But these poems serve as affirmations too, in long lyrical questions-and-answers that push on into the early morning, braving last call.’ - The New Yorker

Poems of loneliness and late nights, liquor and loss.

“One of the wonderful things about Jimmy & Rita is that Kim Addonizio never imposes herself in any way, so the poems sing themselves into us. We experience the victories and defeats of Jimmy and Rita as they struggle through the boundless claustrophobia of their world. I think of them and there is a sense of sadness within me. Yet I think of what Addonizio has accomplished and I feel joy.” - Hubert Selby, Jr

Poems of loneliness and late nights, liquor and loss.

»Geschnatter auf der Damentoilette für immer.« SOPHIE PASSMANN 22 Autor:innen erzählen von einem Ort, an dem Fremde zu Komplizinnen werden, an dem man sich Lippenstift borgt, über Liebeskummer spricht, lacht, trinkt, sich tröstet, gemeinsam durch die Nacht geht. Ein Ort, an dem das Leben spielt, reich an außergewöhnlichen Geschichten: die Damentoilette. Ein Band, der vom spirit herausragender Stimmen getragen wird und Schwesternschaft feiert – hellwach und radikal gegenwärtig.  Mit Beiträgen von Gabriele von Arnim, Claire Beermann, Rita Bullwinkel, Katja Eichinger, Ubin Eoh, Xiaochun Fan, Sonja Finck, Nora Gantenbrink, Ilona Hartmann, Lin Hierse, Annabelle Hirsch, Mareile Höppner, Heidi Julavits, Enuma Okoro, Elina Penner, Caroline Rosales, Jovana Reisinger, Leanne Shapton, Nicole Seifert, Marlene Sørensen, Dana Vowinckel und Kim Addonizio.»Die Damentoilette: unser Safe Space — kein besserer Ort für Zusammenbrüche, Solidarität und Glücksmomente. Endlich schaut jemand dorthin, wo wir schon immer zusammengehalten haben.« MARIA-CHRISTINA PIWOWARSKI