City Of Memory And Other Poems

The leading poet of his generation, Jose Emilio Pacheco is one of Mexico's most esteemed and beloved writers. City of Memory and Other Poems presents two of his finest poetry collections, accompanied by beautifully rendered translations. The first, "City of Memory," touches on Pacheco's major literary obsessions: the destructive effects of time; the essential egotism and cruelty of the natural world, with humankind at its violent center; and the capacity of the human spirit to achieve transcendence. The second, "I watch the Earth," is an emotional catharsis, the poet's mediation on the tragic earthquake that devastated his native Mexico City in 1985. Together, these poems paint a vivid picture of the noble beauty and uncontrollable tragedy that is Mexico-and the world-today. Jose Emilio Pacheco is the winner of the Jose Asuncion Silva Award for the best book of poetry to appear in Spanish from 1990 to 1995. Novelist, poet, essayist, and translator, he lives in Mexico City. Cynthia Steele is the author of Politics, Gender and the Mexican Novel, 1968-1988, Beyond the Pyramid and the translator of Underground River and Other Stories by Ines Arredondo. David Lauer is a poet and translator who lives in Chihuahua, Mexico.

Alex Dimitrov’s third book, Love and Other Poems, is full of praise for the world we live in. Taking time as an overarching structure—specifically, the twelve months of the year—Dimitrov elevates the everyday, and speaks directly to the reader as if the poem were a phone call or a text message. From the personal to the cosmos, the moon to New York City, the speaker is convinced that love is “our best invention.” Dimitrov doesn’t resist joy, even in despair. These poems are curious about who we are as people and shamelessly interested in hope.

Between the long title poem and the other poems in the collection, Michael Gilkes sets up a dialogue about the nature of memory and the meaning of experience across time.

Zahra Karimipours poetry paints a nostalgic picture of life in 1950s Boroujerd, a small town in the west of Iran. The realities of life in Boroujerd reveal a picture of a preindustrialized society, where life had not been touched by advanced machinery; life was simple, but vibrant. Karimipours memories of other places in Iran such as Tehran and the Caspian Sea are emotional accounts of her reflections on endearing memories. Her poem Oh, Caspian, shows her longing for the times she visited the Caspian Sea; her poem Ah, Tehran, reveals her regret of losing a city to population explosion and urbanization.

Poems set in European cities including Rome, Berlin, Budapest, and Vienna evoke the ambience of places that have experienced violence and sorrow amidst their artistic splendor

Poems by a late Nicaraguan writer. In A Prayer for the United States, he wrote: "Apocalyptic blasts are ravaging over-sea. / With lure of flag and conquest the harlot War is wooing. / The horse John saw in Patmos its dread course is pursuing. / I pray the Lord He shelter the stars that shelter me."

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How do poems remember? What kinds of memory do poems register that factual, chronological accounts of the past are oblivious to? What is the self created by such practices of memory? To answer these questions, Uta Gosmann introduces a general theory of "poetic memory," a manner of thinking that eschews simple-minded notions of linearity and accuracy in order to uncover the human subject's intricate relationship to a past that it cannot fully know. Gosmann explores poetic memory in the work of Sylvia Plath, Susan Howe, Ellen Hinsey, and Louise Glück, four American poets writing in a wide range of styles and discussed here for the first time together. Drawing on psychoanalysis, memory studies, and thinkers from Nietzsche and Benjamin to Halbwachs and Kristeva, Gosmann uses these demanding poets to articulate an alternative, non-empirical model of the self in poetry.