A beautifully illustrated portrait of beat icons Kerouac, Snyder, and Whalen and the years in the Cascades high country that shaped their lives and work

    Proceeding sentence by sentence, city by city, and backwards in time, poet and essayist Kazim Ali details the struggle of coming of age between cultures, overcoming personal and family strictures to talk about private affairs and secrets long held. The text is comprised of sentences that alternate in time, ranging from discursive essay to memoir to prose poetry. Art, history, politics, geography, love, sexuality, writing, and religion, and the role silence plays in each, are its interwoven themes. Bright Felon is literally "autobiography" because the text itself becomes a form of writing the life, revealing secrets, and then, amid the shards and fragments of experience, dealing with the aftermath of such revelations. Bright Felon offers a new and active form of autobiography alongside such texts as Theresa Hak Kyung Cha's Dictee, Lyn Hejinian's My Life, and Etel Adnan's In the Heart of the Heart of Another Country. A reader's companion is available at http: //brightfelonreader.site.wesleyan.edu/

    Important, so inspiring... Please read this book" -Sonny Moore, Recording Artist "There are very few ways to get inside the mind of a lyricist. One way is through reading their diaries, the other through sleeping with them. Eric's book is the more entertaining of the options. It's a raw look inside the heart and mind of a rock 'n' roll spiritualist whose struggles with love (Chaplin) and versus the world (Keaton) are laid out bare like an exhibitionist on a double-dare." -Mike Shea, Founder, AP Magazine "Coma Therapy" is the sound of a powerful new voice in contemporary American literature. Victorino's brand of punchy prose often draws comparisons to the likes of Charles Bukowski and Hunter S. Thompson. This debut collection of poems and short stories draws a dangerously thin line between the heartwarming and the horrifying... Eric Victorino then mischievously walks that line all the way to the last page. Defiant, triumphant, hopeful and wise.

    

    In his screenplays and short stories, Ethan Coen surprises and delights us with a rich brew of ideas, observations, and perceptions. In his first collection of poems he does much the same. The range of his poems is remarkable–funny, ribald, provocative, sometimes raw, and often touching and profound.In these poems Coen writes of his childhood, his hopes and dreams, his disappointments, his career in Hollywood, his physically demanding love affair with Mamie Eisenhower, and his decade-long battle with amphetamines that produced some of the lengthier poems in the collection. You will chuckle, nodding with recognition as you turn the pages, perhaps even stopping occasionally to read a poem. Handsomely and durably bound between hard covers, this is a book that will stand up to most readers’ attempts to destroy it.

    In thoughtful, discerning prose, she explores how we come to inhabit the world we see, and how that world also inhabits us. Her voice is a steady assurance that we can, and do, chart our spiritual geography wherever we go.

    The poems in this book are polyphonic: they juxtapose the discourses of science and religion, Hollywood and the occasional psychotic stranger. The title poem, which appears in Best American Poetry 2002, leads off with a "sphinx" asking "Does a road / run its whole length / at once? / Does a creature / curve to meet / itself?" Armantrout's work, with its careful syntax bordering on plain speech and meticulously scored short lines, is always struggling with the problem of consciousness, its blindspots and double-binds. The poems whirl like shifting and scattered pieces of the present moment. They attempt to "make sense" of our lives while acknowledging the depth of our self-deception and deception.

    Here are poems that bring to life her rural Missouri childhood in a family with ten children (“Oh what a wedding train / of vagabonds we were who fell asleep just where we lay”); the love between men and women as well as the devastation of widowhood (“love’s house she goes dancing her grief-stricken dance / for his unpacked suitcases, . . . / . . . / his closets of clothes where I crouch like a thief”); and the moods of nature, which schooled her (“A tree will take you in, flush riot of needles light burst, the white pine / grown through sycamore”). Throughout, touching all subjects, either implicitly or explicitly, is the call to poetry itself.The final work from one of our finest poets, The Wind Blows Through the Doors of My Heart is a uniquely intimate collection, a sustaining pleasure that will stand to remind us of Digges’s gift in decades to come.

    Now Abram returns with a startling exploration of our human entanglement with the rest of nature.As the climate veers toward catastrophe, the innumerable losses cascading through the biosphere make vividly evident the need for a metamorphosis in our relation to the living land. For too long we’ve inured ourselves to the wild intelligence of our muscled flesh, taking our primary truths from technologies that hold the living world at a distance. This book subverts that distance, drawing readers ever deeper into their animal senses in order to explore, from within, the elemental kinship between the body and the breathing Earth.The shapeshifting of ravens, the erotic nature of gravity, the eloquence of thunder, the pleasures of being edible: all have their place in Abram’s investigation. He shows that from the awakened perspective of the human animal, awareness (or mind) is not an exclusive possession of our species but a lucid quality of the biosphere itself—a quality in which we, along with the oaks and the spiders, steadily participate.With the audacity of its vision and the luminosity of its prose, Becoming Animal sets a new benchmark for the human appraisal of our place in the whole.

    As elliptical and demanding as Emily Dickinson, Valentine consistently rewards the reader."—Library JournalIn her eleventh collection, National Book Award–winning poet Jean Valentine characteristically weds a moral imperative to imaginative and linguistic leaps and bounds. Whether writing elegies, meditations on aging, or an extended homage to ancient remains, Valentine searches out ideas and explores the unexplainable. As Adrienne Rich has said of Valentine's work, "This is a poetry of the highest order, because it lets us into spaces and meanings we couldn't approach in any other way."From "If a Person Visits Someone in a Dream, in Some Cultures the Dreamer Thanks Them":At a hotel in another star. The rooms were cold anddamp, we were both at the desk at midnight asking ifthey had any heaters. They had one heater. You areill, please you take it. Thank you for visiting my dream.*Can you breathe all right?Break the glass shoutbreak the glass force the roombreak the thread Openthe music behind the glass . . .Jean Valentine is the state poet of New York. She has earned many honors, including the National Book Award, the Wallace Stevens Award, and the Shelley Memorial Prize. She has taught at Sarah Lawrence College, New York University, and Columbia University. She lives in New York City.

    Featuring a beautifully diverse and inspirational set of voices from around the world, that includes some of today’s most influential modern poets, with additional contest winners chosen from 4,500 submissions, Crown Anthology is curated to be a light in the wild dark, illuminating the crown that exists in everyone.

    During the last twelve years, half of the Man Booker awards went to novels written in non-standard English. What would once have been derogatorily termed "dialect literature" has come into its own in a language known variously as slang, creole, patois, pidgin, or, in the words of Nigerian novelist Ken Saro-Wiwa, "rotten English."The first anthology of its kind, "Rotten English" celebrates vernacular literature from around the English-speaking world, from Robert Burns, Mark Twain, and Zora Neale Hurston to Papua New Guinea's John Kasaipwalova and Tobago's Marlene Nourbese Philip. With concise introductions that explain the context and aesthetics of the vernacular tradition, Rotten English pays tribute to the changes English has undergone as it has become a global language.Contents:"Raal right singin'": vernacular poetry. Colonization in reverse" and Bans O'killing by Louise BennettWings of a dove by Kamau BrathwaiteAuld lang syne, Highland Mary, and "Bonnie Lesley" by Robert BurnsA negro love song and When Malindy sings by Paul Laurence DunbarMother to son and Po' boy blues by Langston HughesInglan is a bitch by Linton Kwesi JohnsonWukhand by Paul Keens-DouglasTommy by Rudyard KiplingUnrelated incidents-no.3 by Tom LeonardComin back ower the border by Mary McCabeQuashie to Buccra by Claude McKayDis poem by MutabarukaQuestions! Questions! by M. NourbeSe Philipno more love poems #1 by Ntozake Shange"So like I say ... ": vernacular short stories. Po' Sandy by Charles ChestnuttThe brief wondrous life of Oscar Wao by Junot DiazLetters from Whetu by Patricia GraceSpunk and Story in Harlem slang by Zora Neale HurstonBetel nut is bad magic for airplanes by John KasaipwalovaJoebell and America by Earl LovelaceThe ghost of Firozsha Baag by Rohinton MistryThe celebrated jumping frog of Calaveras County and A True story, repeated word for word as I heard it by Mark TwainA soft touch and Granny's old junk by Irvine WelshOnly the dead know Brooklyn by Thomas Wolfe. "I wanna say I am somebody": selections from vernacular novels. from True history of the Kelly Gang by Peter Careyfrom The snapper by Roddy Doylefrom Once there were warriors by Alan DuffAn overture to the commencement of a very rigid journey by Jonathan Safran Foerfrom Beasts of no nation by Uzodinma IwealaBaywatch and de preacher from Tide running by Oonya KempadooFace, from Rolling the R's by R. Zamora Linmarkfrom Londonstani by Gautam Malkanifrom No mate for the magpie by Frances Molloyfrom Push by Sapphirefrom Sozaboy: a novel in rotten English by Ken Saro-Wiwafrom The housing lark by Sam Selvon. "A new English": essays on vernacular literature. The African writer and the English. language by Chinua AchebeHow to tame a wild tongue by Gloria AnzalduaIf Black English isn't a language, then tell me what is? by James Baldwinfrom History of the voice: the development of nation language in Anglophone Caribbean poetry by Kamau Brathwaitefrom Minute on Indian education by Thomas MacaulayAfrican speech ... English words by Gabriel OkaraThe absence of writing or How I almost became a spy by M. NourbeSe PhilipMother tongue by Amy Tan

    The title refers to the idea that those who are deviant propel the world forward at top speed. Delving into the center of the endless webs of repression against our bodies, desires, politics, and imaginations, are those whose actions and motion cut away at the systemic limitations of society. This collection of poems was written with the inspiration and work of these people in mind.As a working class queer poet, Conrad has had to fight through different stratifications of oppression his entire life. His poems vibrate with the flamboyant desire that manifests itself in queer culture, where the right to act on basic desires can become a battleground, and everyday acts of love and devotion must be enacted as a political form of defiance. The poems that emerge from this life long struggle illustrate the sharp edge of that defiance and desire, where joy is closely linked to death. In a world ruled by those who govern with fear, and in a landscape barbed with those who are terrified of desire, moving at speed of deviants is the only way to transform potential into action, and desire into positive change.

    Political and iconoclastic, Anne Boyer’s poems dally in pastoral camp and a dizzying, delightful array of sights and sounds born from the dust of the Kansas plains where dinner for two is cooked in Fire King and served on depression ware, and where bawdy instructions for a modern “Home on the Range” read:Mix a drink of stock lot:vermouth and the water table.And the bar will smell of IBP.And you will lick my Laura Ingalls.In Boyer’s heartland, “Surfaces should be worn. Lamps should smolder. / Dahlias do bloom like tumors. The birds do rise like bombs.” And the once bright and now crumbling populism of Marxists, poets, and folksingers springs vividly back to life as realism, idealism, and nostalgia do battle amongst the silos and ditchweed.Nothing, too, is a subject:dusk regulating the blankery.Fill in the nightish sky with ardent,fill in the metaphorical smell.A poet and visual artist, Anne Boyer lives in Kansas, where she co-edits the poetry journal Abraham Lincoln and teaches at Kansas City Art Institute.

    This powerful anthology gathers the passionate voices of young writers who have grown up in an environmentally damaged and compromised world. Each contributor has come of age since Bill McKibben foretold the doom of humanity’s ancient relationship with a pristine earth in his prescient 1988 warning of climate change, The End of Nature.What happens to individuals and societies when their most fundamental cultural, historical, and ecological bonds weaken—or snap? In Coming of Age at the End of Nature, insightful millennials express their anger and love, dreams and fears, and sources of resilience for living and thriving on our shifting planet.Twenty-two essays explore wide-ranging themes that are paramount to young generations but that resonate with everyone, including redefining materialism and environmental justice, assessing the risk and promise of technology, and celebrating place anywhere from a wild Atlantic island to the Arizona desert, to Baltimore and Bangkok. The contributors speak with authority on problems facing us all, whether railing against the errors of past generations, reveling in their own adaptability, or insisting on a collective responsibility to do better.