Wesleyan Poetry Series – serie

Selections of Pierre Joris's best work from this past quarter-century of writings /> />Poasis II gathers Joris's major poetic works from 2000 to 2024. These nomadically shape-shifting poems range widely across times, places, and cultures, addressing, for example, the 2010 Deepwater Horizon disaster (in a quasi-opera libretto),the meditations of tenth-century revolutionary poet, sufi teacher, and thinker Mansur al-Hallaj, an homage to his old friend and collaborator Jerome Rothenberg (1931–2024), a list poem celebrating Herman Melville's 200 birthday, and extracts from his Book of Cormorant. These sequences are interspersed with shorter works, such as poems addressing Paul Celan upon completing translations of that poet's oeuvre, Dante's expulsion from Florence, and more. As he says in the poem "The Poet's Job," "pick up everything that shines / discard the gold / keep the light." Or, as Randall Horton suggests, these poems "are inter-cont(in)ental as sound and symbol weaves in and out of cultures, traditions—they critique, inform—teach in a multiverse of languages—they loveThe beauty, as with all of Joris's literary work, is when language is allowed to be nomadic and unbound." [sample poem] Outside: sun caught in bare tree branches, cradled Inside:me caughtin shelter in place, cradled toop.s. We shall bothrise again – 4/1 These buds on the branches here this year too their steadfastness . my surprise

Fierce, frank, witty poetry about cancer diagnosis, treatment, remission, and end-of-life.Written in the last three years of her life, Andrea Werblin Reid's To See Yourself As You Vanish is a collection of unsparingly brave and insightful poems about her experience with ovarian cancer. Frank, fierce, and witty, her work does not hide behind cliches, platitudes, or tropes, but addresses the hopes, frustrations, fears, and longings that would be easy to leave unspoken. She offers friendship and understanding to those who share her experiences and powerful insights for caregivers and those who work in oncology, hospice, research, and psychology. Of these poems, Reid herself said: "I have struggled with the implications of war metaphors and the perspectives they perpetuate since receiving my own cancer diagnosis. People living with cancer and other chronic illnesses are not taking up arms, they are living as long and as humanely as possible: not to win or lose, simply to live." The scenes in these poems are rich and spare, magical and sane, awful and special: "one bird comes to the end of his branch looking like a clever moustache. /one bird comes to the end of his song like an ordinary bird." [sample poem] THE COLOR OF WAITING is hypnotic pink, under whose spell you've been living for years like a small fossilized creature. or magenta, a bruise that evolves, so you must continue to adjust your secrets waiting is rosy, a soft-spun medical soundtrack of static frizz, machine screech then sharp as the serrated smiles doctors have been honing for years. waiting masquerades as the inflatable idea of hope, waterproofed for safety, maybe, devoid of vision, punctured that easily

New poetry by the author of acclaimed 2023 novel Take What You Need faces the complexities of life on a swiftly heating earth. dra Novey's first collection in a decade, since Patricia Smith chose Exit, Civilian for the National Poetry Series, brings a lyric intimacy to the extremes of our era. The poems juxtapose sweltering days raising children in a city with moments from a rural childhood roaming free in the woods, providing a bridge between those often polarized realities. Novey's spare, contemporary fables move across the Americas, from a woman housesitting in central Chile, surrounded by encroaching fires, to a man in New York about to give birth to a panda. Other poems return to the Allegheny Highlands of Appalachia, where Novey revisits the roads and creeks of her childhood: "Maybe we knew we only appeared/to be floating, but soon and wholly/we'd go under." Like Lydia Davis and Anne Carson, Novey draws from the well of her work translating myriad authors, from Brazilian writer Clarice Lispector to Iranian poet Garous Abdolmalekian, and from her own award-winning novels. These are deeply lived poems, evoking both a singular life and the shared urgencies of our time, a collection of great inventiveness and wit, conjuring our "bit part in the history of the future." [sample text] The Duck Shit at Clarion Creek We liked to stick it in a BB gun and shoot it. We tattooed with it. We said Hallelujah, the poor man's tanning lotion. Then the frack wells began, something black capping the water and we got high watching a green-backed heron die. We got funny at Clarion, flung each other's underwear into the trees. Why was it we got naked there like nowhere else? Maybe we knew we were getting rusted inside as the trucks we rode into the water. Maybe we only appeared to be floating, but soon and wholly we'd go under, get sucked to the bottom. We'd sink and become creek bed; its deep mud would claim us, hold us hard and close.

Intimate and sweeping poetry that examines race and lineageRoom Swept Home serves as a gloriously rendered magnifying glass into all that is held in the line between the private and public, the investigative and generative, the self and those who came before us. In a strange twist of kismet, two of Bingham-Risher's ancestors intersect in Petersburg, Virginia, forty years before she herself is born: her paternal great-great-great grandmother, Minnie Lee Fowlkes, is interviewed for the Works Progress Administration Slave Narratives in Petersburg in 1937, and her maternal grandmother, Mary Knight, is sent to Petersburg in 1941, diagnosed with "water on the brain"—postpartum depression being an ongoing mystery—nine days after birthing her first child. Marrying meticulous archival research with Womanist scholarship and her hallmark lyrical precision, Bingham-Risher's latest collection treads the murky waters of race, lineage, faith, mental health, women's rights, and the violent reckoning that inhabits the discrepancy between lived versus textbook history, asking: What do we inherit when trauma is at the core of our fractured living? [sample poem] XI. the more ground covered, the more liberated you became I am scared my mind will turn on me. I am scared I will be naked in a burning house. I am scared my children won't outpace me. I am scared my children (who aren't made by me) believe I am a sad imitation of the others.I am scared I will gather in a room where everyone will ask me to remember and when I don't lie they'll say I'd hate to be you. I've lived long enough to be scared my kidneys will give out on me. I've lived long enough to know just when they should. I have never shared my fears with anyone; I am scared they will map the land and take liberties. Will the women be ashamed? I'm scared to ask. What will live again? What will die with me?

For more than a century, Friedrich Hölderlin has been considered one of the key figures in modern European literature. The translations in Odes and Elegies, including poems never before available in English, render forcefully and directly the deep longing and heartbreak of Hölderlin's poetic world. A bilingual edition, this book is the first major translation of these poems since the 1960s. Odes and Elegies opens to the English reader the unique poetic voice that marks Hölderlin's achievement and continuing influence on poetry and philosophy today.

In this exquisitely coherent new collection of poems, Ellen Hinsey explores the boundary between poetry and metaphysics, and the intimate bonds between morality and mortality. Drawing on philosophical and spiritual readings, The White Fire of Time displays a breadth of cultural knowledge and a deep understanding of the wisdom of the body. The poems in this book-length sequence are gorgeous, brooding, musical, elegant and serious. The work is composed in three sections: The World, meditations on the ordinary, the daily life of the body and its place in nature and time; The Temple, investigations into language and the ethical life; and The Celestial Ladder, in which poems trace the soul's spiraling journey through desire, love, grief and endurance. Each section mirrors the structure of the whole, with poems following specific forms, serving to create a symphonic rhythm in which details, metaphors and meanings build and interweave.

Continued is a selection of poems by Piotr Sommer, spanning his career to date. A kind of poetic utterance, these "talk poems" are devoid of any singsong quality yet faithfully preserve all the melodies and rhythms of colloquial speech. Events and objects of ordinary, everyday life are related and described by the speaker in a deliberately deadpan manner. Yet a closer look at the language he uses, with all its ironic inflections and subtle "intermeanings," reveals that the poem's "message" should be identified more with the way it is spoken than with what it says. The poems in this volume were translated into English with the help of other notable poets, writers, and translators, including John Ashbery, D.J. Enright, and Douglas Dunn.

In To See the Earth Before the End of the World, Ed Roberson presents us with 120 new poems, each speaking in his unique voice and seen through his unique eye. Earth and sky, neighborhood life and ancient myths, the art of seeing and the architecture of the imagination are all among the subjects of these poems. Recurring images and ideas construct a complex picture of our world, ourselves, and the manifold connections tying them together. The poems raise large questions about the natural world and our place in it, and they do not flinch from facing up to those questions.   Roberson’s poems range widely through different scales of time and space, invoking along the way history and myth, galaxies and garbage trucks, teapots and the history of photography, mating cranes and Chicago's political machine. This collection is composed of five sequences, each developing a particular constellation of images and ideas related to the vision of the whole. Various journeys become one journey—an epic journey, invoking epic themes. There are songs of creation, pictures of the sorrows of war, celebrations of human labor and human society, a respect for tools and domestic utensils that are well made, the deep background of the past tingeing the colors of the present, and the tragic tones of endings and laments, a pervading awareness of the tears in things. Most of all, there is the exhilaration of a grand, sweeping vision that enlarges our world.

The Little Edges is a collection of poems that extends poet Fred Moten’s experiments in what he calls “shaped prose”—a way of arranging prose in rhythmic blocks, or sometimes shards, in the interest of audio-visual patterning. Shaped prose is a form that works the “little edges” of lyric and discourse, and radiates out into the space between them. As occasional pieces, many of the poems in the book are the result of a request or commission to comment upon a work of art, or to memorialize a particular moment or person. In Moten’s poems, the matter and energy of a singular event or person are transformed by their entrance into the social space that they, in turn, transform. An online reader’s companion is available at http://fredmoten.site.wesleyan.edu.

sam sax’s bury it, winner of the 2017 James Laughlin Award from the Academy of American Poets, begins with poems written in response to the spate of highly publicized young gay suicides in the summer of 2010. What follows are raw and expertly crafted meditations on death, rituals of passage, translation, desire, diaspora, and personhood. What’s at stake is survival itself and the archiving of a lived and lyric history. Laughlin Award judge Tyehimba Jess says “bury it is lit with imagery and purpose that surprises and jolts at every turn. Exuberant, wild, tightly knotted mesmerisms of discovery inhabit each poem in this seethe of hunger and sacred toll of toil. A vitalizing and necessary book of poems that dig hard and lift luminously.” In this phenomenal second collection of poems, Sam Sax invites the reader to join him in his interrogation of the bridges we cross, the bridges we burn, and bridges we must leap from.

Rae Armantrout’s poetry comprises one of the most refined and visionary bodies of work written over the last forty years. These potent, compact meditations on our complicated times reveal her observant sensibility, lively intellect, and emotional complexity. This generous volume charts the evolution of Armantrout’s mature, stylistically distinct work. In addition to 25 new poems, there are selections from her books Up To Speed, Next Life, the Pulitzer Prize and National Book Critics Circle Award winning volume Versed, Money Shot, Just Saying, and Itself. Including some of her most brilliant pieces, Partly affirms Armantrout’s reputation as one of our sharpest and most innovative writers.

This poetic collection is an honest and deeply reflective look at life overshadowed by disputed settlements and political upheaval in the Israeli−Palestinian conflict. Yonatan Berg is a poet from Israel and the youngest person ever awarded the Yehuda Amichai Poetry Prize. This collection brings together the best poems from his three published collections in Hebrew, deftly translated by Joanna Chen. His poetry recounts his upbringing on an Israeli settlement in the West Bank, and service in a combat unit of the Israeli military, which left him with post-traumatic stress disorder. He grapples with questions of religion and tradition, nationalism, war, and familial relationships. The book also explores his conceptual relationship with Biblical, historical, and literary characters from the history of civilization, set against a backdrop of the Mediterranean landscape. Berg shares an insider’s perspective on life in Israel today.

Edges & Fray is an embodied meditation that cultivates receptivity and deep listening to the ways we inhabit language and its ethereal resilience. Combining close observation of birds’ nests and the writing process, Danielle Vogel brings the reader into communion with language as a mode of presence. Experimental and deeply grounded, its construction is intuitive and masterful, its many threads interwoven and intrinsically linked. This is a beautiful and inspiring book at the intersection of poetry, somatics, ecology, and divination.

SOME JOY FOR MORNINGNow the connection with springhas dissolved. Now that hysteria is blooming.Says every day I want to fly my kite.Says what's a grammar when you is no longer you.My world is hydrogen burning in space and in the fullness of etc. I have read the news and learned nothing.I try to understand thewhooshing overhead. But for a little light now.I didn't realize the treewas weeping. How was I to know I am not alone. Wildlight.The poems in this brilliant follow-up to the National Book Award finalist Archeophonics, are concerned with grieving, with poetry and death, with beauty and sadness, with light. As Ben Lerner has written, "Gizzi's poetry is an example of how a poet's total tonal attention can disclose new orders of sensation and meaning. His beautiful lines are full of deft archival allusion." With litany, elegy, and prose, Gizzi continues his pursuit toward a lyric of reality. Saturated with luminous detail, these original poems possess, even in their sorrowing moments, a dizzying freedom.

Elegiac and searching, poems written in the long shadow of immigration The poems in Wendy Xu's third collection, The Past, fantasize uneasily about becoming a palatable lyric record of their namesake, while ultimately working to disrupt this Westernized desire. Born in Shandong, China, in 1987, Wendy Xu immigrated to the United States in 1989, three days ahead of the events of Tian'anmen Square. The Past probes the multi-generational binds of family, displacement, and immigration as an ongoing psychic experience without end. Moving spontaneously between lyric, fragment, prose, and subversions in "traditional" Chinese forms, the book culminates in a centerpiece series of "Tian'anmen Square sonnets" (and their subsequent erasures), to conjure up the irrepressible past, and ultimately imagine a new kind of poem: at once code and confession. "Tian'anmen Sonnet" (dead air in air ... ) Dead air in air The anniversary of language holds you back against bucolic dreaming, down stream from here is running a miraculous color, elegy  bursts like a ribbon in air Thinking again of the Square today Bold sky, passing episodes of cloud Vegetation mutters in the Far West  A column of ghosts going violet over time Familiar song looping overhead Lines pressed in air

Elegiac and searching, poems written in the long shadow of immigration The poems in Wendy Xu's third collection, The Past, fantasize uneasily about becoming a palatable lyric record of their namesake, while ultimately working to disrupt this Westernized desire. Born in Shandong, China, in 1987, Wendy Xu immigrated to the United States in 1989, three days ahead of the events of Tian'anmen Square. The Past probes the multi-generational binds of family, displacement, and immigration as an ongoing psychic experience without end. Moving spontaneously between lyric, fragment, prose, and subversions in "traditional" Chinese forms, the book culminates in a centerpiece series of "Tian'anmen Square sonnets" (and their subsequent erasures), to conjure up the irrepressible past, and ultimately imagine a new kind of poem: at once code and confession. "Tian'anmen Sonnet" (dead air in air ... ) Dead air in air The anniversary of language holds you back against bucolic dreaming, down stream from here is running a miraculous color, elegy  bursts like a ribbon in air Thinking again of the Square today Bold sky, passing episodes of cloud Vegetation mutters in the Far West  A column of ghosts going violet over time Familiar song looping overhead Lines pressed in air

One of the most notable members of the New York School—and its best-known woman—Barbara Guest began writing poetry in the 1950s in company that included John Ashbery, Kenneth Koch, Frank O’Hara, and James Schuyler. And from the beginning, her practice placed her at the vanguard of American writing. Guest’s poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest’s remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing—seemingly simple, but truly and beautifully dislocating.