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.

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.

Poems of loneliness and late nights, liquor and loss.