Illinois Poetry Series – serie

Winner of Poetry's Frederick Bock Prize and the Indiana Review Poetry Prize, Kevin Stein casts a wide net over the "ineffable befuddlement" of everyday life. His poems render history's chance larder of the consecrated and profane from which we ransom our fate.Often improvisational and always lyrical, Stein's poems move effortlessly through the art of Beckmann and Degas, the music of Bob Marley and garage bands, and the pathos of cancer patients, factory workers, and victims of bigotry. Insightful and refreshingly unaffected, Chance Ransom explores the shifting shore between self and other with clarity and compassion.

In accessible poems full of rich detail and painterly images, Maura Stanton looks under the surface of the ordinary, hoping to find the magic spark below the visible. In poems both humorous and elegaic, she gathers strange facts, odd events, and overlooked stories to construct her own vision of immortality, one made up of fragments of history and geography and the illusions of yearning human beings. From elephants in Ceylon to Nazi prisoners in Ireland, from Beowulf to Jane Austen, from sonnets to prose poems to blank verse, Immortal Sofa conjures our complex existence in all its sorrowful but astonishing variety.

In this ambitious collection, Kevin Stein enters the volatile intersection of private lives and larger public history. In poems variously formal and experimental, improvisational and narrative, wisely silly and playfully forlorn, Stein renders the human carnival flexed across the tattooed bulk of “history’s bicep.” Musical and refreshingly unaffected, Stein’s poems yoke the domains of high and low art. His poems address subjects by turns surprising, edgy, and humorous. They offer musings on the Slinky and the atomic bomb, elegies for a miscarried pregnancy and the late physicist Edward Teller, reflections on night-shift factory work and President Eisenhower’s golf caddy, and meditations on the politics of post-colonialism and a youthful antiwar streaking incident. Against this vivid backdrop parades a motley cast of American characters seeking wiry balance in a fragile world.

Co-winner of the prestigious Poets' Prize for his collection To the Bone, Sydney Lea is known for his mastery of the narrative style and his clear and unwavering vision of the natural world and humanity's place in it. His latest work, Pursuit of a Wound, is marked by this acuity and by his uncanny ear for language as well as his willingness to speak for the unlucky and the dispossessed.  Delving in equal measure into the flinty northern New England landscape and the exiled souls of ordinary people, Pursuit of a Wound moves beyond Lea's previous work to explore new poetic strategies, including some that approach prose poetry. Combining a free-ranging sensibility akin to Whitman's with a keen attention to verse's formal possibilities, this collection of twenty-eight new poems evokes a beautiful and threatened place and ratifies Lea's status as heir-apparent to Robert Frost.

Winner of Poetry's Frederick Bock Prize and the Indiana Review Poetry Prize, Kevin Stein casts a wide net over the "ineffable befuddlement" of everyday life. His poems render history's chance larder of the consecrated and profane from which we ransom our fate.Often improvisational and always lyrical, Stein's poems move effortlessly through the art of Beckmann and Degas, the music of Bob Marley and garage bands, and the pathos of cancer patients, factory workers, and victims of bigotry. Insightful and refreshingly unaffected, Chance Ransom explores the shifting shore between self and other with clarity and compassion.

In House of Poured-Out Waters, Jane Mead's substantial new collection, she continues to grapple with a world both personal and cultural. Poised in the slender moment between too early and too late, between the difficult past and the unimaginable future, Mead's poems remind us that the old debates about fate and free will, nature and nurture, are also matters of personal urgency.     More than anything, it is her spiritual dimension that offers Mead a way into the future--but that way must be paved, image by image, with the world before her.  Simultaneously conversational and lyrical, these fearless poems extend the possibilities of narrative verse.

Winner of several major awards, including the Guggenheim, National Endowment for the Arts, and National Poetry Series, Len Roberts is a powerful and uncompromising poet whose work redeems a turbulent past. "The Silent Singer" offers the best of Roberts' past work as well as a sizable collection of new poems.

With this dazzling collection, J. P. White embarks on a windswept journey through seductive, treacherous waterways. Conveying a stormy sense of place defined less by geography than by the push and pull of the mind at odds with circumstance, these bracing poems plumb the depths of the sea and of the human heart in muscular, graceful language.  The Salt Hour wends its way from Lake Erie to the Sea of Cortez, from the Aegean Sea to ice-choked Baffin Bay. From old sailors on the graveyard watch to a young boy clinging to the sailboat's pulpit to boats dousing their sails before the blue-black storm, The Salt Hour evokes the very salt breath of the sea and the poet's need for connection with the shore. As a restless traveler who takes us from England and Russia to Nicaragua and the Caribbean, White pushes beyond the boundaries of the lyric/narrative tradition to let more of the world, more flux of the larger human condition rush in.  Drenched in color almost achingly vivid, The Salt Hour is an extraordinary catch.  "J.P. White is a poet of grace, authority, and accomplishment . . . again and again [he] arrives at the hard-word eloquence from which the most enduring lyrics must be formed. White is also a richly various poet, elegiac, political, and literary by turns. . . . The Salt Hour/i> is a very fine collection indeed."-- David Wojahn

As a recipient of Poetry's Levinson Prize and the Ruth Lilly Prize and a nominee for the American Book Award and National Book Award, David Wagoner is one of this country's most celebrated poets.  In The House of Song, he offers a hundred new poems in six parts.  At turns elegiac, comic, and nostalgic, these poems venture to the seemingly infinitesimal points where people, legends, and culture collide with nature, memory, and action.   With characteristic wit and brevity, Wagoner chronicles the material invasions of the natural world, reconsidering Thoreau amid ruminations on voyeurs and destroyers, slug watchers and moth collectors.  The House of Song asserts Wagoner's place among the finest of American poets, past and present.

Shimmering with saturated color and heat, Guide to the Blue Tongue is an intoxicating sequence of memory poems about growing up in the tropics, threaded through the myth of Caliban from Shakespeare's The Tempest.  Caliban is the monstrous native, in love with what he cannot possess, lost to his own sense of identity. In Virgil SuÁrez's vision, the island of Caliban's imprisonment merges with the island of Cuba, where the carboneros make charcoal and sell it door-to-door by the pound, young boxers crackle with caged energy, dock workers spill like ants out of the bellies of ships, and the rain falls in torrents on corrugated tin roofs. On this island of fire, the Marquis de Sade joins other historical figures to drink absinthe, and J. Edgar Hoover lingers over mojitos and a cigar at the Tropicana Night Club in Old Havana. Hovering behind the hotel shutters or half-concealed behind their masks, the old poets and prophets--Shakespeare, Tiresias, Pablo Neruda--are waiting to speak their passions.  Out of this rich imaginative brew, SuÁrez evokes the mythical and historical landscape of Cuba and distills the "hollow, deep-thudded pangs" of exile's rootlessness, the immigrant's constant longing to be possessed by a sense of place. Steeped in a seductive, incantatory language of desire, Guide to the Blue Tongue gives entry to a place of blue possibility and daily undoing, where the sting of salt-fresh air is compounded by the ache of displacement and loss.

In X=, Stephen Berg winds through the wreck of longing and loss, navigating the strains of curious beauty with flashes of electrifying clarity. Stripping bare the burdens of gnawing, unknowing fear, Berg has found his way into a voice of great energy and spontaneity, into a form of overwhelming urgency and detail.

Songlines in Michaeltree is the long-awaited collected poems--with the sparkling addition of some new ones--of one of America's most revered poets.  Hailed by critics as a distinctive and powerful presence in contemporary American poetry, Michael S. Harper is an artist and a truth teller who tempers his astonishing technical virtuosity with a compassionate and healing vision. A keen observer and a potent commentator, Harper calls a complacent society vigorously to account while cradling the wounded and remembering the lost.Calling Harper "one of the finest poets of our time . . . [and] one of the most human and humane,"  George Cuomo of the San Francisco Examiner and Chronicle observed, "Harper's poetry has drawn its vitality from the incredible energy of his language and the honesty of his perceptions." Songlines in Michaeltree  is a magnificent celebration of Harper's continuing, unstinting gifts.

In these poems, G. E. Murray blends the colors of the soul with those of the world it brushes up against, exploring the ways in which art, both as possession and possessor, informs perception.Viewing his subjects sometimes from airplane altitude, sometimes from the intimacy of a shared restaurant table, Murray crafts “true stories about color,” narratives of dislocation and belonging that invite readers to question their own relationship to art.Included in this volume is a long sequential poem titled “The Seconds,” which Murray composed across the second days of thirteen months. The rhythms of this diary-as-poem seize the tensions of shifting times and locales, capturing the essences of moments that are at once chosen and arbitrary.“Codes toward an Incidental City,” the sequence that closes the book, is a confederacy of forty poems that delve into the concrete familiarities and mythologies of urban landscapes, illuminating the ecstasies of city life.

Ira Sadoff’s new volume of poems opens with a quotation from Rilke: “But because truly being here is so much; because everything here / apparently needs us, the fleeting world, which in some strange way / keeps calling us. . . .” The poetry collected here is a response to this call.  Rooted firmly in the “fleeting world,” Sadoff’s poems find epiphanies of meaning in unexpected and even unpleasant experiences and emotions. The poems in Barter delve deeply into the past, the personal past of regret, travel, love, divorce, and bereavement, as well as the global past of Beethoven, Vietnam, and the fall of communism. Each poem is offered up by Sadoff as a barter, something to be traded for a little more time, a little more understanding.  The poems in Barter comment on the power of culture to interject itself into our desire for an idealized self, the way our inner and outer lives lack correspondence, harmony, and integration. They also talk about commerce, the trading of bodies, the way we as a nation “use” and exchange and appropriate -- and like Tolstoy’s Ivan Ilyich, try to bargain with and evade the urgency of our time on earth.  In the poem “Self-Portrait with a Critic,” Sadoff makes what could be a succinct statement of purpose: “And inside, let’s not make it pretty, / let’s save the off-rhyme and onomatopoeia / / for the concert hall, let’s go to the wormy place / where the problematic stirs inside his head.”

"This is no fairy tale. / It's all fantastic and bizarre and true. / It's my life, a raspy song, that sounds better if you sing along."  The men and women who live and work near Opelika, Alabama, gather at the Hollow Log Lounge. There, under the watchful eye of the stuffed fox behind the bar, they unload their gripes and worries, tell their stories, argue, joke, commune, complain, and confess.  In this collection of poems, R. T. Smith paints a vividly imagined portrait of the community in this small-town bar, capturing the chorus of the patrons' voices echoing off the knotted wood-paneled walls. Smith's stand-in, Sam Buckhannon, scribbles stories heard and overheard as tongues loosened by liquor spin out monologues in which southern idiom and vernacular seem perfectly at home within the constraints of measured verse.

In A Deed To the Light Jeanne Murray Walker asks probing questions about the depth of grief, about letting go, and about the possibility of faith.  Her poems have been described by John Taylor, writing in Poetry, as "splendid, subtly erudite, uplifting, and funny."

By continually discovering what's new in each day without forgetting yesterday's surprises, David Wagoner has succeeded in constantly expanding his range in a career that spans more than fifty years. In Good Morning and Good Night, this range includes his usual rich forays into nature and personalities, and poetry for all ages, young and old, amidst a vivid array of memories and explorations. Readers will find homages to the poets that have inspired him, as well as the bountiful lyricism that has made Wagoner's poetry one of our most enduring sources of delight and joy.Good Morning and Good Night features poems previously published in American Poetry Review, The American Scholar, Atlantic Monthly, Hudson Review, The Kenyon Review, New Letters, The New Republic, Poetry, Shenandoah, Southern Review, The Yale Review, and other leading literary journals.

Jim Barnes’s familiarity with the European poetic traditions has been deepened through long periods spent in France, Germany, and Italy, and through his translations of European poetry. In Visiting Picasso he repays Europe for its gifts to him in a series of poems that evoke the lush poetic history that ties European culture together, sometimes darkly.  A heightened sense of place and purpose infuses the poems of Visiting Picasso with meaning drawn from actual landscapes, events, and observations.

David Wagoner's wide-ranging poetry buzzes and swells with life. Woods, streams, and fields fascinate him--he happily admits his devotion to Thoreau--but so do people and their habits, dear friends and family, the odd poet, and strangers who become even stranger when looked at closely. In this new collection, Wagoner catches the mixed feelings of a long drive, the sensations of walking against a current, the difficulty of writing poetry with noisily amorous neighbors, and many more uniquely familiar experiences.

For decades, Michael S. Harper has written poetry that speaks with many voices. His work teems with poetry configured as awe, poetry as courtship, and poetry as elegy and homage. Infused with tales and riddles, sass and satire and surprise, Harper’s poetry takes the form of psalms, jazz experiments, soft serenades, and radical provocations.In Use Trouble, his first major collection since Songlines in Michaeltree, Harper renews poetry as the art of taking nothing for granted. In three groups--"The Fret Cycle," "Use Trouble," and "I Do Believe in People"--he draws on his seemingly inexhaustible resources to paint, sing, sympathize, and sorrow. Here are his tributes to his father and family, his irrepressible playfulness, and his lifelong romance between poetry and music.