A vivid, strange, and beautiful account of a year in Sweden, this poem represents the ways in which wildness and monstrousness, dream and terror, coexist forever with constructions of order. Inspired by a medieval map of the same name, the poem weaves the gloom of the author’s forgotten past with the pain and pleasures of her present life, creating a treatise on motherhood, marriage, love, forgiveness, reconnection, and abandonment.
This gorgeous large-format hardback (11 x 9.25 inches) features 47 poems and 47 color photographs that explore the history, culture, and ecology of the state of Mississippi. The epigraph for the book is taken from Theodore Roethke's "North American Sequence": "The imperishable quiet at the heart of form." This quietness to be found by contemplating the photographs of Maude Schuyler Clay was at the heart of Ann Fisher-Wirth's poetic process, which involved listening — listening to the voices that spoke their stories somehow in connection, however oblique, with the photographs. Clay is a seventh-generation Mississippian; Fisher-Wirth has lived there for 30 years, so the images and words represent long, complicated accumulations and recombinations of visual and linguistic experience. In her recent memoir The Faraway Nearby, the environmental writer Rebecca Solnit writes: "A place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there." Mississippi suffers from severe environmental degradation that cannot be separated from its history of poverty and racial oppression. Yet the state also possesses great natural beauty and a rich and complex culture, one interwoven from the many voices that have made up its identity. Mississippi explores both this degradation and this beauty. The poems are explorations of voice in its Mississippi plenitude and variety, honoring the voices, no matter whose they are, whether white or African American, and exploring the rich orality of Mississippi culture. With one exception, the beautiful, haunting photographs do not depict people, but, rather, swamps, fields, trees, lakes, empty chairs, dilapidated buildings. They work with the poems to offer the spirit of place.
The News from Poems examines a subgenre of recent American poetry that closely engages with contemporary political and social issues. This “engaged” poetry features a range of aesthetics and focuses on public topics from climate change, to the aftermath of recent wars in Afghanistan and Iraq, to the increasing corporatization of U.S. culture. The News from Poems brings together newly commissioned essays by eminent poets and scholars of poetry and serves as a companion volume to an earlier anthology of engaged poetry compiled by the editors. Essays by Bob Perelman, Steven Gould Axelrod, Tony Hoagland, Eleanor Wilner, and others reveal how recent poetry has redefined our ideas of politics, authorship, identity, and poetics. The volume showcases the diversity of contemporary American poetry, discussing mainstream and experimental poets, including some whose work has sparked significant controversy. These and other poets of our time, the volume suggests, are engaged not only with public events and topics but also with new ways of imagining subjectivity, otherness, and poetry itself.
A new collection by a poet declared "one of the most exciting poets of her generation" (Harvard Review). With elegant wordplay and her usual subversive wit, Beth Ann Fennelly explores the "unmentionable"—not only what is considered too bold but also what can't be said because words are insufficient. In sections of short narratives, she questions our everyday human foibles. Three longer sequences display her admirable reach and fierce intelligence: One, "The Kudzu Chronicles," is a rollicking piece about the transplanted weed. Another, "Bertha Morisot: Retrospective," conjures up a complex life portrait of the French impressionist painter. The third presents fifteen dream songs that virtually out-Berryman Berryman.
Beth Ann Fennelly is fearless in delineating the joys, absorptions, and—yes—jealousies of new motherhood. Having studied motherhood "as if for an exam," reality proved "wilder and deeper and funnier" than anything she'd anticipated.Tender Hooks is Fennelly's spirited exploration of parenting, with all its contradictions and complexities.
A vivid, strange, and beautiful account of a year in Sweden, this poem represents the ways in which wildness and monstrousness, dream and terror, coexist forever with constructions of order. Inspired by a medieval map of the same name, the poem weaves the gloom of the author’s forgotten past with the pain and pleasures of her present life, creating a treatise on motherhood, marriage, love, forgiveness, reconnection, and abandonment.
Ann Fisher-Wirth's graceful and sturdy lines unsettle the seemingly familiar...her distilled attentiveness presses against our all-too-common ambivalence and detachment from the ordinary world... the poems in The Bones of Winter Birds exhibit an abundance of compassion and civility.
This gorgeous large-format hardback (11 x 9.25 inches) features 47 poems and 47 color photographs that explore the history, culture, and ecology of the state of Mississippi. The epigraph for the book is taken from Theodore Roethke's "North American Sequence": "The imperishable quiet at the heart of form." This quietness to be found by contemplating the photographs of Maude Schuyler Clay was at the heart of Ann Fisher-Wirth's poetic process, which involved listening — listening to the voices that spoke their stories somehow in connection, however oblique, with the photographs. Clay is a seventh-generation Mississippian; Fisher-Wirth has lived there for 30 years, so the images and words represent long, complicated accumulations and recombinations of visual and linguistic experience. In her recent memoir The Faraway Nearby, the environmental writer Rebecca Solnit writes: "A place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there." Mississippi suffers from severe environmental degradation that cannot be separated from its history of poverty and racial oppression. Yet the state also possesses great natural beauty and a rich and complex culture, one interwoven from the many voices that have made up its identity. Mississippi explores both this degradation and this beauty. The poems are explorations of voice in its Mississippi plenitude and variety, honoring the voices, no matter whose they are, whether white or African American, and exploring the rich orality of Mississippi culture. With one exception, the beautiful, haunting photographs do not depict people, but, rather, swamps, fields, trees, lakes, empty chairs, dilapidated buildings. They work with the poems to offer the spirit of place.
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