Nowhere else in American poetry do I come across a passion, a cunning, and a joy greater than his. And a deadly accuracy. I see him as one of the supreme poets of his generation."–Gerald Stern The poems in True Faith are earthy, lyrical, honest, and empathic in a style that is both gritty and urbane. With wry humor, Ira Sadoff's latest collection addresses family, faith, and the quiet joys of aging. Ira Sadoff currently teaches in the MFA program at Drew University and serves as the Arthur Jeremiah Roberts professor of English at Colby College in Maine.
In this capacious and energetic volume, Ira Sadoff argues that poets live and write within history, our artistic values always reflecting attitudes about both literary history and culture at large. History Matters does not return to the culture war that reduced complex arguments about human nature, creativity, identity, and interplay between individual and collective identity to slogans. Rather, Sadoff peels back layers of clutter to reveal the important questions at the heart of any complex and fruitful discussion about the connections between culture and literature. Much of our most adventurous writing has occurred at history’s margins, simultaneously making use of and resisting tradition. By tracking key contemporary poets—including John Ashbery, Olena Kaltyiak Davis, Louise Glück, Czeslaw Milosz, Frank O’Hara, and C. K. Williams—as well as musing on jazz and other creative enterprises, Sadoff investigates the lively poetic art of those who have grappled with late twentieth-century attitudes about history, subjectivity, contingency, flux, and modernity. In plainspoken writing, he probes the question of the poet’s capacity to illuminate and universalize truth. Along the way, we are called to consider how and why art moves and transforms human beings.
In this capacious and energetic volume, Ira Sadoff argues that poets live and write within history, our artistic values always reflecting attitudes about both literary history and culture at large. History Matters does not return to the culture war that reduced complex arguments about human nature, creativity, identity, and interplay between individual and collective identity to slogans. Rather, Sadoff peels back layers of clutter to reveal the important questions at the heart of any complex and fruitful discussion about the connections between culture and literature. Much of our most adventurous writing has occurred at history’s margins, simultaneously making use of and resisting tradition. By tracking key contemporary poets—including John Ashbery, Olena Kaltyiak Davis, Louise Glück, Czeslaw Milosz, Frank O’Hara, and C. K. Williams—as well as musing on jazz and other creative enterprises, Sadoff investigates the lively poetic art of those who have grappled with late twentieth-century attitudes about history, subjectivity, contingency, flux, and modernity. In plainspoken writing, he probes the question of the poet’s capacity to illuminate and universalize truth. Along the way, we are called to consider how and why art moves and transforms human beings.
Nowhere else in American poetry do I come across a passion, a cunning, and a joy greater than his. And a deadly accuracy. I see him as one of the supreme poets of his generation."–Gerald Stern The poems in True Faith are earthy, lyrical, honest, and empathic in a style that is both gritty and urbane. With wry humor, Ira Sadoff's latest collection addresses family, faith, and the quiet joys of aging. Ira Sadoff currently teaches in the MFA program at Drew University and serves as the Arthur Jeremiah Roberts professor of English at Colby College in Maine.
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.”
In an intense, wide-ranging meditative sequence, these poems chart the arrival and passage of the seasons, centering on time and location as the starting points for the imaginative act.
As well as being a reference for the design, analysis, and interpretation of vaccine studies, the text covers all design and analysis stages, from vaccine development to post-licensure surveillance, presenting likelihood, frequentists, and Bayesian approaches.
COBRA Handbook is designed for benefits professionals,plan administrators, employers, service providers, fiduciaries, attorneys, andothers who must deal with the complexities of the Consolidated Omnibus BudgetReconciliation Act of 1985 as amended (COBRA).The 2013 Edition reviews significant legal developments in theCOBRA arena since the publication of the prior edition and discusses newjudicial decisions issued during the past year. Highlights includeupdated and extensive discussions of the following issues:What types of employee benefit plans are subject to COBRAUnder what circumstances a COBRA qualifying event occursWhat constitutes termination due to "gross misconduct" for COBRA purposesHow a plan administrator can ensure compliance with COBRA's notificationrequirements, and what type of documentation should be retainedUnder what circumstances a plan must notify an individual of the terminationof his or her COBRA coverageAnd much more!The 2013 Edition of COBRA Handbook also reviews in detail therules contained in the IRS and DOL regulations and offers guidance on how tocomply with the various rules contained in the regulations.In addition, COBRA Handbook includes the following features tohelp employers, other plan sponsors, administrators, and consultants inadministrating and complying with this complicated and continuously developingarea of the law:Examples illustrating important conceptsPractice Pointers to help benefits professionals comply with COBRADetailed case citations and notes to help the reader quickly locate relevantportions of the law, regulations, administrative releases, and supportingjudicial decisionsThe full text of the DOL and IRS Final COBRA Regulations, model COBRA notices,and sample COBRA provisions for inclusion in a purchase agreementA glossary containing definitions of the key terms and abbreviations used inthe bookA table of cases at the end of the book providing full citations to relevantjudicial decisions, as well as chapter and section references for each casediscussedA table of COBRA cases grouped by issueA detailed subject indexThe 2013 Edition reviews judicial decisions issued during thepast year, new guidance issued by the IRS, and updates discussions of thefollowing issues:Under what circumstances does a COBRA qualifying event occurWhat constitutes termination of employment due to "gross misconduct" for COBRApurposesHow to ensure compliance with COBRA's notification requirementsPotential damages and liability for COBRA violationsExhaustion of administrative remedies in the COBRA context
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.”
An experienced and highly respected poet, Ira Sadoff crafts hard-edged scenes, honed on the stuff of real life. From the unblinking honesty of "My Mother's Funeral" to the cultural worship of "At the Movies," Sadoff carves out, with each remarkable line, an unforgettable sensuousness.
In an intense, wide-ranging meditative sequence, these poems chart the arrival and passage of the seasons, centering on time and location as the starting points for the imaginative act.
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