In Joshua Mehigan’s award-winning poetry, one encounters a lucid, resolute vision driven by an amazing facility with the metrical line. Most of the poems in The Optimist unapologetically employ traditional poetic technique, and, in each of these, Mehigan stretches the fabric of living language over a framework of regular meter to produce a compelling sonic counterpoint. The Optimist stares at contemporary darkness visible, a darkly lit tableau that erases the boundary between the world and the perceiving self. Whether narrative or lyric, dramatic or satirical, Mehigan’s poems explore death, desire, and change with a mixture of reason and compassion. In choosing The Optimist for the Hollis Summers Poetry Prize, final judge James Cummins, wrote: “The world is given its due in these poems, but its due is the subjective voice making ‘objective’ reality into the reality of art. To do this Mehigan accesses a tradition of voices—the echoes in The Optimist are, to name a few, of Frost, Robinson, Kees, and Justice; and more in terms of point of view, Bishop and Jarrell—to form with great integrity his own. It isn’t that Mehigan is concerned more with what’s outside himself than inside; nor merely that he travels the highway between the two with such humility and grace. It’s also that these voices, this great tradition, infuses his line with what the best verse, metrical or free, must have: wonder.”
Blending together the naturalistic milieu of great chroniclers of American life with the cinematic menace and wonder of Fritz Lang, this much-anticipated collection of poems evokes real lives and institutions.
Joshua McKinney's debut collection of poetry, Saunter, shows immense devotion to and passion for language in all its aspects. He intensely attends to words and delights in the play of accidental connections and complications. Such amusement and playfulness with oppositions is evidenced in lines like: "an opening / a cello scales / some stairs. Risen, / a thought falls." McKinney's awareness of the complex resonance of literary history and current issues of language comes through in his dedication to making the appearance of language, not just its sound or its relative meaning, an integral aspect of his poems. Meanwhile, the subject matter is often surprisingly mythic and mysterious, championing absolute freedom and wildness. His intricate verse is sincere in its observations while turning inward on itself, sauntering in designed indirection.
Blending together the naturalistic milieu of great chroniclers of American life with the cinematic menace and wonder of Fritz Lang, this much-anticipated collection of poems evokes real lives and institutions.
In Joshua Mehigan’s award-winning poetry, one encounters a lucid, resolute vision driven by an amazing facility with the metrical line. Most of the poems in The Optimist unapologetically employ traditional poetic technique, and, in each of these, Mehigan stretches the fabric of living language over a framework of regular meter to produce a compelling sonic counterpoint. The Optimist stares at contemporary darkness visible, a darkly lit tableau that erases the boundary between the world and the perceiving self. Whether narrative or lyric, dramatic or satirical, Mehigan’s poems explore death, desire, and change with a mixture of reason and compassion. In choosing The Optimist for the Hollis Summers Poetry Prize, final judge James Cummins, wrote: “The world is given its due in these poems, but its due is the subjective voice making ‘objective’ reality into the reality of art. To do this Mehigan accesses a tradition of voices—the echoes in The Optimist are, to name a few, of Frost, Robinson, Kees, and Justice; and more in terms of point of view, Bishop and Jarrell—to form with great integrity his own. It isn’t that Mehigan is concerned more with what’s outside himself than inside; nor merely that he travels the highway between the two with such humility and grace. It’s also that these voices, this great tradition, infuses his line with what the best verse, metrical or free, must have: wonder.”
With authoritative coverage of everything from recent discoveries in the field of vascular biology to recent clinical trials and evidence-based treatment strategies, Vascular Medicine, 3rd Edition, is your go-to resource for improving your patients’ cardiovascular health. Part of the Braunwald family of renowned cardiology references, this updated volume integrates a contemporary understanding of vascular biology with a thorough review of clinical vascular diseases, making it an ideal reference for vascular medicine specialists, general cardiologists, interventional cardiologists, vascular surgeons, and interventional radiologists. Incorporates technologic advances in vascular imaging – including ultrasound, MRI, CTA, and catheter-based angiography – along with more than 230 new figures, providing an up-to-date and complete view of the vascular system and vascular diseases. Covers novel antithrombotic therapies for peripheral artery disease and venous thromboemboism, advances in endovascular interventions for aortic aneurysms, and today’s best surgical treatments for vascular diseases. Includes seven new chapters: Pathobiology of Aortic Aneurysms; Pathobiology and Assessment of Cardiovascular Fibrosis; Large Vessel Vasculitis; Medium and Small Vessel Vasculitis; Epidemiology and Prognosis of Venous Thromboembolic Disease; Fibromuscular Dysplasia; and Dermatologic Manifestations of Vascular Disease. Discusses methods for aggressive patient management and disease prevention to ensure minimal risk of further cardiovascular problems. Keeps you current with ACC/AHA and ECC guidelines and the best ways to implement them in clinical practice.
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