My Love Is A Dead Arctic Explorer

Poetry. Poems of a loneliness that quarrels with itself from the far edge of love, this is a collection of would-be love poems chastened by experience. I was a Promethean dilettante disabused of tinder, says the speaker, who later observes, After you reach adulthood / no one bets you'll set this world / on fire. Ackerson-Kiely returns with a second book of perfectly trenchant heartbreak and longing.

Ley lines mark alignments of sacred sites such as ridgetops and ancient megaliths and create pathways between them. This book too marks alignments and creates pathways, but its sacred sites are not monuments, they’re artworks and poems. Its various forms of exchange between writers and artists offer unique access to contemporary art, poetry, and the creative process. In this unique anthology, working poets respond to questions about their recent books, painters and other artists offer statements about their work, and writers respond to artworks. These offerings and exchanges are juxtaposed so as to speak to one another in a capacious, resonant dialogue. The result is a broad-minded and inclusive poetics, a vision of creative work as a constituent of personal and civic life. Anyone who nurtures the creative impulse will enjoy Ley Lines and return to it again and again. Writing students, art students, and any reader engaged in artistic practice will find in Ley Lines not a how-to manual or step-by-step instruction but an inexhaustible vein of instructive reflection on imaginative work and the creative life.

This anthology features authors from Anti-Heroin Chic Magazine focusing on trauma and healing.

The last decades have seen an explosion of the prose poem. More and more writers are turning to this peculiarly rich and flexible form; it defines Claudia Rankine's Citizen, one of the most talked-about books of recent years, and many others, such as Sarah Howe's Loop of Jade and Vahni Capildeo's Measures of Expatriation, make extensive use of it. Yet this fertile mode which in its time has drawn the likes of Charles Baudelaire, Oscar Wilde, T. S. Eliot, Gertrude Stein and Seamus Heaney remains, for many contemporary readers, something of a mystery. The history of the prose poem is a long and fascinating one. Here, Jeremy Noel-Tod reconstructs it for us by selecting the essential pieces of writing - by turns luminous, brooding, lamentatory and comic - which have defined and developed the form at each stage, from its beginnings in 19th-century France, through the 20th-century traditions of Britain and America and beyond the English language, to the great wealth of material written internationally since 2000. Comprehensively told, it yields one of the most original and genre-changing anthologies to be published for some years, and offers readers the chance to discover a diverse range of new poets and new kinds of poem, while also meeting famous names in an unfamiliar guise.

In case after amazing case, you'll listen to the actual voices of the dead--contrary, lyrical entrancing. You'll explore the meaning of out-of-body experiences and learn how spirits of the dead can be seen as well as heard. You'll also discover how YOU can communicate with the dead--and capture their voices on an ordinary tape recorder!

Poetry. A collection of tricksters from Anton Mesmer to the inexplicable gods of Ovid; fairy-tale characters and figures from memory; the white blanket of snow in the far north across which a small plane flies: these recurrent images haunt and populate Jesme's ALBEDO. "A small abyss becomes / larger with use," she writes, yet in examining the mostly ordinary and sometimes extraordinary ways in which the individual comes to perceive and love the world, Jesme acknowledges a landscape of "dormancy for the duration" with poems that confront multiple mournings. "Poetry's truest measure is not language but time, and our best poetry reveals its trust in the paradox of its wordless foundation. 'Time does not enter it/ or does, ' Kathleen Jesme writes, 'but in a slant way because/ words are history/ and hoax.' ALBEDO derives its considerable power from what it knows to be hoax and homestead at once, and time dwells in the book as sequence, as series, and as discrete lyric, its totality poignantly multiple in a measure made sacred by faith. A liturgical calendar counted out in weeks of weather and grief, trees and seasons, deaths and animals, this is a devotional book of hours bound in snow, a missal for those for whom 'god is organic/and arrives from the inside.'" Brian Teare"

Poetry. LGBT Studies. In GEPHYROMANIA (literally, an addiction to or an obsession with bridges), Tolbert's choice isn't between female and male, lover and self, or loss and relief, but rather to live (willingly, intentionally) in the places where those binaries meet. Questions arise: Is a bridge simply an attempt to connect one (seemingly) stable body back to itself? Whose body which embodiment is absent when we say "I miss you"? And who is adored when we say "I love"? Sensing the parallels between a lover who leaves and his own female body as it chooses (as he chooses for it) to recede, the poems in GEPHYROMANIA explore the spaces between, among, across, and even within bodies."

Poetry. Winner of the 2013 Sawtooth Poetry Prize. In a long-form poetry that tirelessly makes its case for its own heritage, PRACTICE ON MOUNTAINS documents a striving lover through eight weeks of various literatures, reflections, and desires. The poems and translations in this book value experience the lived poem. The metaphysic of the literary love affair leads to its beautiful, chaotic, thoughtful pile of lyrical musings. Wallace Stevens writes, "it is not the reason / That makes us happy or unhappy. The bird sings." H.D., Thoreau, Li Po, Pound, classic country hymns, Glenn Gould, and the poet's friends are called on, among many others, in the reckless appropriations that provide for such a poetry. "Self-knowledge requires, strangely enough, a means to quell introspection, that self-thinking of self and all that there occurs which but mimics the understanding to which it cannot arrive. David Bartone's PRACTICE ON MOUNTAINS offers itself as an astonishingly vivid record of just such a practice, seeking some enlightenment it is also too savvy to trust exists. The poetry finds an oddity of voice absolutely necessary, daily speech that contains within it shards of poetic fragment, a kind of lyric discursiveness that always interrupts its own method when that method threatens to become merely such. It's wonderfully self-searching without being narcissistic, tied into love's agonies in ways familiar but strikingly honest, deprecating but audacious, learned but humble. It brings to its readers a primary document of the mind reading through the heart's various damage." Dan Beachy-Quick"