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409-432 of 504 products

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    The Ida Pingala by Debrah Morkun

    Debrah Morkun's words compose dynamic fields. Her efforts push poetry onto the page to energize language by reaching toward its limits. Between the ""janus-lipped morning"" and ""miserable neighborhoods"" a resistance forms according to what can be said and what actually gets said. Morkun confronts opposing forms and possibilities (like the ida and pingala of the title). Here poetry is electrified by the tensions of sound and meaning. ~ Hoa Nguyen
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    The Impossible Picnic by Mark Tursi

    Mark Tursi’s Impossible Picnic sets up camp not on grassy Romantic heights but on the astroturf of our mental backyards and interiors. In its wild juxtapositions and deadpan humor, one hears unsettling echoes emanating from the “vapory camaraderie” of modernism. Here “the world is all this, plus the world,” as the title propels us toward a super-abundance that only initially seems “impossible.” —Elizabeth Willis
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    The Jointure by Clayton Eshleman

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    “What does it mean to see with the eyes of the soul?” In The Jointure, Clayton Eshleman offers an answer to this question in language of visionary symbolic consciousness. Intimate and expansive, psychological and anthropological data germinates this fecundating exploration and extrapolation of inner wilderness and the essence of imagination. In The Jointure, “memory is fracture” – the depths of horror enshroud the horror of depths – but imagination is revealed as the “keelson of paradise.” —Stuart Kendall
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    The Landfill Dancers by Mary Kasimor

    In this memorable collection, Mary Kasimor enacts an ""image drama"" and ""performance burlesque"" across every poetic line, surprising the reader with a new ""species of FORM."" Watch your step because The Landfill Dancers will take you where the wild is always open. —Craig Santos Perez
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    The Last Place I Lived by K. Alma Peterson

    One of the early poems in this book concludes: “My wild side would like to know.” If yours would too, read The Last Place I Lived. The collection abounds in wit and verbal play, yet the reward in reading comes from an intelligence lodged deep, directing the lines in sophisticated ways, the “afterimage // glassily repeated in the hawk’s beveled eye.” —Julie Funderburk
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    The Living Air by Masiela Lusha

    When I discovered Masiela Lusha’s impressive list of accomplishments in the cinematic arts, I have to say I was not surprised in the least. Ms. Lusha’s poems skillfully dramatize the most ethereal of philosophical ideas, showing us what’s at stake as we “stalk the truth.” This book will invite you in, then “release you as a learner,” subtly illuminating through its performative poetics what questions we should be asking of the world around us. —Kristina Marie Darling
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    The Logic of Clouds by Marc Pietrzykowski

    Marc Pietrzykowski lives and writes in Lockport, NY, with his wife and various furry mendicants. He has published elsewhere, has friends and so forth, but he would much rather you read the inside of the book than the back cover.
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    The Long Way Home by Leonard Gontarek

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    Gontarek's enthusiasm and imagination pour through poem after poem: surprising juxtapositions and fragments from Krishnamurti and other meditative guides and philosophers show a wide range of experiences and objects in a kind of praise song. —Sean Singer
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    The Lost Positive by Elizabeth Strauss Friedman

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    In The Lost Positive, her stellar second collection of poetry, Elizabeth Strauss Friedman casts the slog of domestic, compulsory heterosexuality into the stars—the result is a new mythology, “a wandering bruise / of glamour,” in which women refuse to negatively refract. —Jenny Molberg
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    THE MERCURY POEM by Jared Schickling

    With THE MERCURY POEM, Jared Schickling brings us an oddly reversible apocalypse—the story of individuals grappling with their own bleak place in history. “A tsunami ruining the beach / during an election season,” “the exclusion zone is breeding,” and as an elegy to television, the poet finds normalcy in the unlivable. —Jonathan Penton
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    The Metaphysician’s Daughter by Dick Ostrander

    "These poems are intriguing , packed with surprising situations, encounters and characters. The poet often captures moments that hit the jackpot such as with "Beauty of the Beast." This is poetry that not only needs to be read more than once, but read out loud and then discussed and pondered." —Sara Claytor
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    The Metempsychosis of Salvador Dracu by Daniel Y. Harris (Volume VI of The Posthuman Series)

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    Daniel Y. Harris’ The Posthuman Series is an amazing tour de force! —Marjorie Perloff
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    The Misprision of Agon Hack (Volume IV: The Posthuman Series) by Daniel Y. Harris

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    Daniel Y. Harris’ Posthuman Series is an amazing tour de force! —Marjorie Perloff
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    The Moon and Other Inventions: Poems After Joseph Cornell by Kristina Marie Darling

    Darling creates a lattice of explicitly feminine apperception around the works of Joseph Cornell. The result is a haunting parascription, of a piece with Cornell's metaphysical idiom while substantially Othering any sustained encounter with his work. —G.C. Waldrep
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    The Moon Blooms in Occupied Hours by Anis Shivani

    Shivani is at the height of his powers as his lens sweeps with cinematic confidence from the grand to the minute and his voice encompasses the roaring horrors of war and the quieter moments of reflection and grace.—Wendy Chin-Tanne
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    The Mouth Of The Bay by Michael Ruby

    In poems written on the rocky coast of Frenchman Bay in Maine, Michael Ruby begins with wisdom and ends with delight, reversing Frost’s famous dictum about poetry. The Mouth of the Bay begins with the wisdom of the Eleatic philosophers on the coasts of southern Italy and Sicily—“There is no beginning and there is no end”—and their calls for purification. Ruby writes the words that appear in his mind when he repeats sayings of Pythagoras, Xenophanes, Empedocles and others.
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    The Olfactions: Poems on Perfume by Anne Gorrick

    Someone once said that after a Bach sonata, the silence that follows is still Bach. Well, after a poem from Anne Gorrick, the silence that follows is a whiff of patchouli, tar, vanilla, tea and other things... Thank you. Thank you. —Fabrice Penot,
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    The Paris Poems by Suzanne Burns

    this is subject matter clichéd a century ago; all of it forced into newness, not by the references of modernity, but by the observance of  a well-referenced poetess of now— a potential beginning for this century's cliché. —c.vance,
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    The Pink by Jared Schickling

    “The Pink” reads like a bio-centric futurist work of patterned effeminate lyricism and distortion whose themes are fatherhood, motherhood, and childhood, while playing heartily at inherited themes and motifs through re-worked fairy tales, observations (recordings), and children’s verses.
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    The Radiant World by Dan Featherston

    Dan Featherston is the author of three other booklength collections of poetry, The Clock Maker's Memoir (Cuneiform Press, 2007), United States (Factory School, 2005), and Into the Earth (Quarry Press, 2005), as well as five shorter collections. He lives in Philadelphia and teach at Temple.
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    The Rapture of Eddy Daemon: Volume I The Posthuman Series by Daniel Y. Harris

    Finally: a posthuman translation of Shakespeare. I'm glad Daniel Y. Harris beat Watson at it. There are still large chunks of human in his kind lineation." —Andrei Codrescu
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    The Real World by Emma Winsor Wood

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    Most of us don’t know how to deal with the reality of the unrealities in which we find ourselves living. Wood shows us one way to do so—and it’s a great one, one in which we can be real. — Lyn Hejinian
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    The Refinery by janna plant

    Janna Plant is an alchemist. She unearths the twin elements of humor and despair from their commonplace lodgings in the language, and reconstitutes them as brilliance. —Anne Kennedy
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    The Reganites: Vol 1 & Vol 2 by Tim Roberts

    Here is a monstrous demonstration of the bloat conditions of our world. Written to extremes, as if to show how truly, really, impossible the current state of language and culture has become. What can Literature do except stop a door—or trip us up, physically as well as lyrically? Who speaks in this massive text, elegantly crafted on the page in wry, deliberate, imitation of a sacred text, twin-columned? —Johanna Drucker
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