Throughout, Graham seeks out sites of wakeful resistance and achieved presence. From the natural world to human sensation, the poems test the unstable congeries of the self, and the creative tensions that exist within and between our inner and outer landscapes--particularly as these are shaped by language.Beginning with a poem dated June 5th, placed on Omaha Beach, in Normandy--the anniversary of the day before the "historical" events of June 6th--Place is made up of meditations written in a uneasy lull before an unknowable, potentially drastic change--meditations which enact and explore the role of the human in and on nature. In these poems, time lived is felt to be both incipient, and already posthumous. This is not the same as preparing for a death. It is preparing for a life we know we, and our offspring, shall have no choice but to live. How does one think ethically as well as emotionally in such a predicament? How does one think of one's child--of having brought a person into this condition? How does love continue, and how is it supposed to be transmitted? Does the nature of love change?Both formally and thematically poems of ec(h)o-location in space/time, Graham's new poems work to discern "aftermath" from "future"--as the two margins of the form ask us to feel the vertiginous "double" position in which we find ourselves, constantly looking back just as we are forced to try to see ahead.In an era where distrust of human experience and its attendant accountability are pervasive Place calls us, in poems of unusual force and beauty, to re-inhabit and make full use of--and even rejoice in--a more responsive and responsible place of the human in the world.

    African & African American Studies. "I get this pinwheel relationship to wisdom & history when I read Simone White. I'm in her dream, but it's a remarkable solidly packed one informed by the quotidian rarity of for instance a prose disquisition on lotion and skin and haircare especially in winter. Like Dana Ward's, her work sends me searching. Like what part of speech is here. As I'm wondering Simone sometimes exits first, and I even feel that a real piece of her poem is adamantly not here and that is her privacy, her power & her skill so what kind of quest is it, this beautiful complex & alive work. Here's my best guess. OF BEING DISPERSED is an ur text of the fourth wave of feminism which we come to realize is ocean and women are now standing on it and amidst this clatter of voices Simone White walks." Eileen Myles "In Simone White's poetry the action is always multiple, palpable, sounding as thought, coming forward through this highly sensitized plane, sudden and hovering, exchanging centers, afflicted and added to by company. The continuous listening company demands company including imaginary self, receding boundaries, the horseman on the night's street, the live, the loved, the drunk, the words, the turnstile, the endless destructive projections people force and the rendering of that listening into irreducible depths of tone, wit, and perception constitute much of what makes OF BEING DISPERSED a masterful book. Buzzing word-love marking time beat by beat, being the ground inside and out, makes up the rest." Anselm Berrigan "Macaronic plenitude of language instantiates places and states of mind. If Edouard Glissant says that we write in the presence of all the world's languages, then we have in Simone White's OF BEING DISPERSED, an underground stream reaching the surface of the page in lines acrobatic and limber, fluent in code switch, mood shift and modes of inquiry. I read White's volume as a poetic lens on the specificities of the diaspora and the 'dispersed, ' written with baroque skepticism, feminist vision and attention to the complications of a Black yet to be storyed any/where." Erica Hunt"

    He's set to wrestle and study creative writing at Columbia University in New York. These poems are a look into his early experiences with love and loss, an introspective coming of age tale told in verse.

    In this collection, you will find images and poems that relate to life, love, loss, gain, realisation and the final thing called Moksha. The poems may sound philosophical, intellectual and emotional from time to time. You will also find a surprise at the end of this wonderful poetry collection if you read everything carefully. And, like the previous poetry collection by Alok Mishra, this book will also not take more than 15 minutes from your daily routine. However, you may want to read the book at least twice or maybe thrice to understand what do the poems mean. Alok has devised a style of his own to communicate his thoughts to the readers of Indian English poetry. A 4-3-6 style has perfectly settled with this collection having 14 wonderful poems. Here are some reviews for Moving for Moksha:The collection of poems takes us on a journey to ponder the truth and fallacies of life that come our way. The poems are mostly mystic in nature, having more than what it seems to be... you will certainly love it if you have a taste for English poetry.by: Amit Mishra (founder of The Indian Authors & Indian Book Lovers)...beauty, truth, eternity.... a very close observation of life, these poems sneak into nothing but the philosophy of life that people confront during life-span.by: Ravi Kumar, Research Scholar with expertise in Indian English Literature, a writer for many online literary platformsThe poems reflect disillusion, rejection, realisation and answer to the final call – Moksha, as called in Indian philosophy. The innovative form with a 4-3-6 pattern looks very apt for the emotional and intellectual and also cryptic nature of the poems in this collection.The Last Critic

    A short story.

    Often on these walks of meditation and reflection, he finds himself making notes for poems. Some years he has accomplished as many as fifteen or twenty poems from those walks, while in other years only half a dozen. The resultant work has been published in collections of Sabbath Poems, a precursor to which was The Window Poems.The Window Poems were composed while Berry looked out of the multi-paned window of his writing studio, “The Long-Legged House.” The house is near the renovated farmhouse where Berry and his wife raised their children and continue to live. These poems contemplate Berry's personal life as much as they ponder the seasons he witnesses through the window. This beautiful book was first designed, composed, and printed on a Washington handpress by Bob Barris, at the Press on Scroll Road, with wood engravings by Wesley Bates. Including an introduction by James Baker Hall, this early sequence of poems signals and celebrates the groundwork of Berry's life.

    Brower's voice is passionate, perfectly cadenced, humorous, and very wise. And original: while most writers point to where we are, this one draws the map.?Edward O. Wilson, author, "The Diversity of Life and Naturalist"Credited with galvanizing an entire generation of environmentalists in the 60's, David Brower, the highly respected "archdruid" of the modern environmental movement, recalls with wit and wisdom his 50 years of controversial activism and offers an inspired strategy for the next generation of "those who would save the Earth."In this intelligent and engaging chronicle of his years as an agitatator for the planet, Brower points out the irony that since the first Earth Day 25 years ago, we've lost one-seventh of the world's productive land to pollution, clearcutting, and pavement-and our population has doubled! From the politics of preserving the environment and how to use New York-style PR to save tigers and dolphins, to reengineering cities, the future of hypercars, and his vision for the Earth Corps, Brower takes us on a sweeping journey of what has been and what could be if we apply CPR (Conservation, Preservation, Restoration) to our wounded world. Printed on entirely tree-free kenaf paper, "Let the Mountains Talk, Let the Rivers Run" follows its own prescription for saving the world's forests.TABLE OF CONTENTSCPR for the Earth: An InvitationPART I: OPPORTUNITIES1. Seeing and Remembering2. Climbing Mountains3. The Bristlecone Pine4. Visions of a Wild CenturyPART II: SOLUTIONS5. Havens6. Cities with Boundaries7. Eco-Preserves8. Forest Revolution9. More Monks10. HypercarsPART III: RESTORATION11. A World Restored12. Making a Difference13. The CPR Service14. What will it Cost?15. The Cure for What Ails UsPART IV: WILDNESS16. Where the Wilderness Is17. Listening to Mountains18. Rachel Carson's Pelicans19. Neat TricksPART V: SAVING THE EARTH20. The Third Planet: Operating Instructions21. Unwise Misuse22. Rule Number 6 Revisited23. Let Heaven and Nature Sing24. For Those Who Would Save the Earth

    It will then be about them only. It will be all about the one they loved like thunder, about the one they struggled hard to keep, about the one who had left them in the middle of their 'forever', about their world shattering into pieces, about them gluing together every piece, and about them falling in love one more time.And if you still think it is about you and me, you haven't loved someone like thunder, yet.

    

    It is an acquired taste, for those who do not mind profanity and dishevelled emotions.

    

    The fourth collection of poetry from this former automotive die designer delivers more of the cunning brilliance that has become Hicok's hallmark.

    Published to commemorate the centenary of 1914, this stunning set of books, with specially commissioned covers by leading print makers, is an essential gathering of our most beloved war poets introduced by leading poets and biographers of our present day.Dying at twenty-five, a week before the end of the First World War, Wilfred Owen (1893-1918) has come to represent a generation of young men sacrificed - as it seems to the next generation, one in unprecedented rebellion against its fathers - by guilty old men: generals, politicians, profiteers. Owen has now taken his place in literary history as perhaps the first, certainly the quintessential, war poet.

    Truthful and tender, profoundly aware of the possibility of magic and the miraculous, these poems are beautiful, informed, and, even at their darkest moments, filled with courage and hope. Alongside old favorites, this edition will contain a selection of new, unpublished poems. This is a must for poetry lovers.

    “Mean free path” is the average distance a particle travels before colliding with another particle. The poems in Lerner’s third collection are full of layered collisions—repetitions, fragmentations, stutters, re-combinations—that track how language threatens to break up or change course under the emotional pressures of the utterance. And then there’s the larger collision of love, and while Lerner questions whether love poems are even possible, he composes a gorgeous, symphonic, and complicated one.You startled me. I thought you were sleepingIn the traditional sense. I like lookingAt anything under glass, especiallyGlass. You called me. Like overheardDreams. I’m writing this one as a womanComfortable with failure. I promise I will neverBut the predicate withered. If you areUncomfortable seeing this as portraitureClose your eyes. No, you startledBen Lerner is the author of three books of poetry and was named a finalist for the National Book Award for his second book, Angle of Yaw. He holds degrees from Brown University, co-founded No: a journal of the arts, and teaches at the University of Pittsburgh.