Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham. In addressing key stakes within contemporary art, architecture, music, and the performance of male and female gender roles, Gordon provides a prescient analysis of such figures as Kelley, Glenn Branca, Rhys Chatham, Tony Oursler, and Raymond Pettibon, in addition to reflecting on her own position as a woman on stage. The result—Is It My Body?—is a collection that feels as timely now as when it was written. This volume additionally features a conversation between Gordon and Jutta Koether, in which they discuss their collaborations in art, music, and performance.

    

    Ten new poems introduce Prodigal, followed by fifty poems, culled from Gregerson's five collections, that range broadly in subject from class in America to our world's ravaged environment to the wonders of parenthood to the intersection of science and art to the passion of the Roman gods, and beyond. This selection reinforces Gregerson’s standing as “one of poetry’s mavens . . . whose poetics seek truth through the precise apprehension of the beautiful while never denying the importance of rationality” (Chicago Tribune). A brilliant stylist, known for her formal experiments as well as her perfected lines, Gregerson is a poet of great vision. Here, the growth of her art and the breadth of her interests offer a snapshot of a major poet's intellect in the midst of her career.

    She shares over twelve years of poetic inspiration, from her days as a writer who ?once wrote poems in a basement with no heat," through the tenderness of motherhood and bitterness of loss, to the strength of love itself, which can ?make the impossible a simple act." Radiant with keen perception, wit, and urgency, sometimes erotic, often funny, this inspiring collection sounds the unmistakable voice of a "woman on fire? / and more worthy than stone."

    The Seventh Octave features some of this great young poets most revered poems. From "OHM," to "Sha Clack Clack," Saul's words are breathtaking and powerful with every read. The Seventh Octave is a must-have collection for any aspiring poet or seasoned writer. Lyrical and electric, full of brilliant imagery and truth. The Seventh Octave is for lovers of language and the magic poets can create.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.

    Editor Joan Retallack has chosen complete texts or selections that lend themselves to a clarified vision of Stein's oeuvre. In her brilliant introduction, Retallack provides the historical and biographical context for Stein's lifelong project of composing a "continuous present," an effort which parallels many of the most important technological and scientific developments of her era—from moving pictures to Einstein's revision of our understanding of space and time. Retallack also addresses persistent questions about Stein's work and the best way to read it in our contemporary moment. In suggesting a performative "reading poesis" for these works, Retallack follows Stein's dictum by arguing that to actively experience the work is to enjoy it, and to enjoy it is to understand it.

    Rich with historical context and a deeply engaging personal narrative.

    Nobody comes out looking good. The slippery self, surveilled yet ready with her mask, performs a peep show—booth opens wide, yet somehow the dancer isn't there. She's in character. She's "cut off the head to let the humors hose through.

    After being ejected as collateral via my parent's breakup; After being lied to, cheated on and subtracted from all equations of love; I determined that things were not adding up any more. I knew that I deserved to be loved everyday, not only with words but with actions. I found a great deal of power in learning about love. I had been confused this whole time as I believed what we were all taught to believe as children - that love was something you find inside of another person. This journey allowed me to heal, forgive and accelerate my life towards love. Our journeys have different titles but we are all out here walking together toward the same goal. People with different skin tones, speech variations and socie-economic status all deserve love. This is The Dear Queen Journey: A Path To Self Love.

    Snow is fresh on the ground and the city is preparing for the holidays. For Damali, a musician and recording artist fresh off her first tour, her music isn’t flowing the same after leaving the energy of the stage. And for Lachlan, a photographer who prides himself on getting the perfect shot; he can’t seem to find that spark anymore. Two strangers, one cabin with one goal-to become inspired again so they can deliver their best Christmas projects.Will they find their getaways to be the spark that they need, or will they crash and burn?

    Found inside a disabled elevator, she is no longer able to function with her new consciousness of these memories—those which are so resistant to understanding. Confronted with this knowledge of evil, she must begin the painful process of remembering and reconstructing a new whole self.Helping Barbara to navigate her grief and her memories are her therapist, the Psalms, and most of all, the words of Paul Celan. Paul Celan: 1920-1970, Poet. An eastern European holocaust survivor who wrote haunting poems about the darker spiritual trials of life and relationships that exhibit a compact style that fuses broken words and chopped syntax to produce a stark musicality.This is a novel about a woman who goes to hell and back. It’s a story which affirms the resilience of the human spirit and the healing power of love and faith.

    These stories span characters and emotional states with canny details that touch the depths of your soul. Picturing the complexities of love, misery and mystery, the stories try to gnaw your heart like never before.• What does a flower teach us we often fail to see?• “The belly is an ungrateful wretch.” Is it true?• Ever wondered about the sparseness and illusions in life?• Does death put an end to true love?• Have all the ascetics won over their emotions?With the power of simple language, this book transports the readers to a world scarcely thought of in our bustling lives. The allegories maintain an intense rhythm of life prompting the readers to perceive things from a unique angle.“A whole bookful to make you think, cry, think again and move on.”

    Disappointing lovers surface in the bedroom; in the bathroom, "the drained tub ticks with mollusks & lobsters;" revenge fantasies and death lurk in the basement where they rightly belong. With lush imagery and au courant asides, Hothouse surprises and delights.Karyna McGlynn is the author of I Have to Go Back to 1994 and Kill a Girl and three chapbooks. She is currently a Visiting Assistant Professor of Creative Writing and Translation at Oberlin College.

    On the left side of the book are "thinker" poems that light up the analytical, more literal, left side of the brain, and on the right side are companion "feeler" poems that speak to the creative, more emotional right side of the brain. Combined, the poems electrify the mind, body and soul through a completely unique poetry experience that inspires each of us to embrace all parts of ourselves. This empowering poetry book will not only engage you to think and feel, but will make you feel seen, show you how to love yourself, and encourage you to seek out the hope and beauty in the world … and in yourself. It’s the perfect gift for yourself or someone you love, especially after a most difficult year.