A potpourri of musings assembled with a hint of practical spirituality, to be savoured passably as an oracle of hearts to the many answers, whose questions our minds are yet to comprehend. Ivory Gleam is split into three chapters of learning, longing and loving. Each chapter is a journey traversing a different road to the ultimate destination of self-reflection.

    Christian Hawkey's VENTRAKL folds poetry, prose, biography, translation practices, and photographic imagery into a ground-breaking collaboration with the 19th / early 20th century German Expressionist poet Georg Trakl. What evolves is a candid and deeply felt portrait of two authors--one at the beginning of the 20th century, the other at the beginning of the 21st century, one living and one dead--wrestling with fundamental concerns: how we read texts and images, how we are influenced and authored by other writers, and how the practice of translation--including mistranslation--is a way to ornament and enrich the space between literature and life.

    Molly Malone Cook, who died in 2005, was Oliver's partner for many years, a pioneer gallery owner and photographer. Our World weaves forty-nine of Cook's photographs and selections from her journals with Oliver's extended writings, both reminiscence and reflection, in prose and in poetry. The result is an intimate revelation of their lives and art.Within the art world, Molly Malone Cook made her reputation as an early advocate of photography as an art form; she was a champion of the work of now-famous photographers, including Edward Steichen, Eugene Atget, Berenice Abbott, Minor White, Ansel Adams, Harry Callahan, and W. Eugene Smith. There are famous faces here as well, captured by Cook's camera, among them Walker Evans, Robert Motherwell and Henry Geldzahler, the first curator of twentieth-century art at the Metropolitan Museum.Cook and Oliver also lived among writers, and Cook caught several on film, including Lorraine Hansberry and Norman Mailer. Other artists and dozens of wonderful characters and scenes are also immortalized by Cook's unfailing eye for telling detail and composition. Oliver writes of Cook's work, the people they knew, and the places they visited or lived. The poet's beautiful text captures not only the vivifying qualities of her partner's work, but the texture of their shared world. In Mary Oliver's words, Cook taught the beginner poet "to see, with searching attention and compassion."

    He not only helped give new vitality and direction to the old conventions of court poetry, but created works that, because of their depth of feeling, continue to attract readers to the present day.

    This cross-linguistic pun presents the queer, non-white body as both vulnerable ('flesh') and weaponised ('flèche'), and evokes the difficulties of reconciling one's need for safety alongside the desire to shed one's protective armour in order to fully embrace the world.Central to the collection is the figure of the poet's mother, whose fragmented memories of political turmoil in twentieth-century China are sensitively threaded through the book in an eight-part poetic sequence, combined with recollections from Chan's childhood. As complex themes of multilingualism, queerness, psychoanalysis and cultural history emerge, so too does a richly imagined personal, maternal and national biography. The result is a series of poems that feel urgent and true, dazzling and devastating by turns.

    Unfolding through a series of letters written by an unnamed narrator, Last Words tells the story of a passionate relationship between two young women—their sexual awakening, their gradual breakup, and the devastating aftermath of their broken love. In a style that veers between extremes, from self-deprecation to pathos, compulsive repetition to rhapsodic musings, reticence to vulnerability, Qiu’s genre-bending novel is at once a psychological thriller, a sublime romance, and the author’s own suicide note.The letters (which, Qiu tells us, can be read in any order) leap between Paris, Taipei, and Tokyo. They display wrenching insights into what it means to live between cultures, languages, and genders—until the genderless character Zoë appears, and the narrator’s spiritual and physical identity is transformed. As powerfully raw and transcendent as Mishima’s Confessions of a Mask, Goethe’s The Sorrows of Young Werther, and Theresa Cha’s Dictée, to name but a few, Last Words from Montmartre proves Qiu Miaojin to be one of the finest experimentalists and modernist Chinese-language writers of our generation.

    Meeting-place of fever and the cold eye, in a passion which could hold together with his own arms the flying apart of his own time. He claimed it, its past and the moment that held it with its own arms, the present.They were lyrics he brought to me, cut as if with an adze; and I began to translate. In his early lyrics, with their speed, their transparencies, their couples lying together, all couples, all opposites, there was a chance for the reader to see what was flashing out of Mexico in this young poet. He glittered in his airs and silences, his sudden strokes:Our bones are lightningin the night of the flesh.0 world, all is night,life is the lightning.-from a foreword

    During the fifty-eight years he was a priest, his monastery at San Giovanni Rotondo, Italy, became a mecca for pilgrims from all over the world. Born Francesco Forgione on May 25, 1887 in the town of Pietrelcina in southeastern Italy, Padre Pio joined the Capuchin Order in 1903 and was ordained in 1910. On September 20, 1918 he received the sacred wounds of Christ, the stigmata, which he bore the rest of his life. Renowned for the stigmata, which modern medical science could not explain, Padre Pio also possessed other unusual qualities, such as bilocation, celestial perfume, reading of hearts, miraculous cures, remarkable conversions, and prophetic insight. Although he did not leave his monastery and was under obedience not to write or preach, this humble Capuchin monk became world famous for his piety, his counsel, and his miracles. He was universally regarded as a saint in his own time. Pope John Paul II beatified Padre Pio of Pietrelcina on Sunday, May 2, 1999 in St. Peter's Basilica Square before a throng of 650,000 devotees of this famed 20th-century stigmatist. His faithful followers now look forward with anticipation to his canonization."Remember that God is within us when we are in His grace, and outside of us when we are in sin." -Padre Pio

    Questioning what it means to possess and to be possessed by objects and technologies, Kathleen Graber's collection brings together the elevated and the quotidian to make neighbors of Marcus Aurelius, Klaus Kinski, Walter Benjamin, and Johnny Depp. Like Aeneas, who escapes Troy carrying his father on his back, the speaker of these intellectually and emotionally ambitious poems juggles the weight of private and public history as she is transformed from settled resident to pilgrim.______From The Eternal City WHAT I MEANT TO SAY Kathleen Graber ?In three weeks I will be gone. Already my suitcase standsoverloaded at the door. I've packed, unpacked, & repacked it, making it tell me again & again what it couldn't hold.Some days it's easy to see the signifi cant insignificanceof everything, but today I wept all morning over the swollen, optimistic heart of my mother's favorite newscaster, which suddenly blew itself to stillness. I have tried for weeksto predict the weather on the other side of the world: I don't wantto be wet or overheated. I've taken out The Complete Shakespeare to make room for a slicker. And I've changed my mind& put it back. Soon no one will know what I mean when I speak.Last month, after graduation, a student stopped me just outsidethe University gates despite a downpour. He wanted to tell methat he loved best James Schuyler's poem for Auden.So much to remember, he recited in the rain, as the shopsbegan to close their doors around us. I thought he would livea long time. He did not. Then, a car loaded with his friendspulled up honking & he hopped in. There was no chance to linger& talk. Today I slipped into the bag between two shoes that bookwhich begins with a father digging--even though my fatherwas no farmer & planted ever only one myrtle late in his life& sat in the yard all that summer watching it grow as he died, a green tank of oxygen suspirating behind him. If the suitcasewere any larger, no one could lift it. I'm going away for a long time, but it may not be forever. There are tragedies I haven't read.Kyle, bundle up. You're right. It's hard to say simply what is true.For Kyle Booten ?

    Responding differently to their common times, Wang Wei, Li Bai, and Du Fu crystallize the immense variety of China and the Chinese poetic tradition and, across a distance of twelve hundred years, move the reader as it is rare for even poetry to do.

    The author, with 25 years of experience dealing with the Chinese, provides up-to-date advice on how to succeed, avoid gaffes, interpret behaviour and make positive impressions.

    Nina Mingya Powles is a poet and zinemaker from Aotearoa New Zealand, currently living in London. She is the author of a food memoir, Tiny Moons: A Year of Eating in Shanghai (The Emma Press, 2020), and several poetry pamphlet collections including Luminescent (Seraph Press, 2017) and Girls of the Drift (Seraph Press, 2014). In 2018 she was one of three winners of the inaugural Women Poets' Prize, and in 2019 won the Nan Shepherd Prize for Nature Writing. She is the founding editor of Bitter Melon苦瓜, a risograph press that publishes limited-edition poetry pamphlets by Asian writers.

    Even after he embarked on his masterful In Search of Lost Time at the age of thirty-eight, he never stopped writing poetry. His verse is often playful, filled with affection and satire, and is peppered with witty barbs at friends and people in his social circle of aristocrats, writers, musicians, and courtesans.            Few of the poems collected here under the editorship of Harold Augenbraum, founder of the Proust Society of America, have ever been published in book form or translated into English until now. In this dual-language edition of new translations, Augenbraum has brought together nineteen renowned poets and poetry translators to bring Proust's exuberant verse back to life.

    Written more than two thousand years ago, the Tao Teh Ching, or -The Classic of the Way and Its Virtue, - is one of the true classics of the world of spiritual literature. Traditionally attributed to the legendary -Old Master, - Lao Tzu, the Tao Teh Ching teaches that the qualities of the enlightened sage or ideal ruler are identical with those of the perfected individual. Today, Lao Tzu's words are as useful in mastering the arts of leadership in business and politics as they are in developing a sense of balance and harmony in everyday life. To follow the Tao or Way of all things and realize their true nature is to embody humility, spontaneity, and generosity. John C. H. Wu has done a remarkable job of rendering this subtle text into English while retaining the freshness and depth of the original. A jurist and scholar, Dr. Wu was a recognized authority on Taoism and the translator of several Taoist and Zen texts and of Chinese poetry. This book is part of the Shambhala Pocket Library series. The Shambhala Pocket Library is a collection of short, portable teachings from notable figures across religious traditions and classic texts. The covers in this series are rendered by Colorado artist Robert Spellman. The books in this collection distill the wisdom and heart of the work Shambhala Publications has published over 50 years into a compact format that is collectible, reader-friendly, and applicable to everyday life.

    After eighteen years of publishing anonymously and reading only to local crowds in the Pacific Northwest, he began to issue occasional limited-edition letterpress chapbooks with a small press, as well as occasional broadsides and, since 1987, a winter solstice poem or story, most given as gifts to friends. Rain on the River contains work collected here for the first time, as well as three dozen previously unpublished poems. Dodge's poems and short prose offer the same pleasures as his fiction -- a splendid ear for language, great emotional range and subtlety, a sharp eye for the illuminating detail, and a sensibility that encompasses outright hilarity, savage wit, and tender marvel, all made eminently accessible through writing of uncompromising clarity and grace. "Like being at a nonstop party in celebration of everything that matters." -- Thomas Pynchon "A rollicking, frequently surprising adventure-cum-fairy tale. It also has a sweetness about it and an indigenous American optimism." -- The New York Times Book Review "Diverse, savvy, passionate.... Poetry should be a pleasure, and Jim Dodge's work is just that." -- Gary Snyder