Böcker i Poets Out Loud-serien

A collection of lyric and prose poetry about identity, fragmentation, depression and addiction.

Gray Matter: 1. the material of the brain. 2. an expression naming an idea or situation held in shadow. This book tangles with the unknown, but also celebrates the seductive curiosity its mystery provokes-A love letter from the imagination to the scientists and philosophers who, despite remarkable attempts, still cannot locate its source.

A collection of poems that contemplate the bureaucracy of the mind through interior political cabinetsTaking its name from the banal, purgatorial space outside (but inside) a doctor¿s office, Well Waiting Room imagines the conversations we have with ourselves at this liminal site as an exchange between interior bureaucrats, each of whom governs a particular aspect of the psyche. The poems explore the dynamics of this political ministry, which includes the Cabinets of Desire, Indulgences, Self-Preservation, Ordinary Affairs, Ambivalence, Confrontations, and many others¿there¿s even a press secretary, a curator, and a general counsel. Like a cabinet of curiosity wrapped in red tape, the poems examine the compartmentalization of the mind and the confounding news of the day.Formally, the poems range from dramatic monologues to combative sonnets, quippy memos to voice-y prose blocks, incantatory interludes to dreamlike visual landscapes. Sometimes, the poems address a purely internal conflict: Why do we lie to ourselves, indulge in schadenfreude, repeat the same mistakes? Other times, the poetic lens points outward like a spear, confronting the external universe: social injustice, polar ice melt, the Trump administration, and other man-made disasters. But in both universes, the poems find joy: the first observation of gravitational waves, the otherworldly beauty of rare marine species, the discovery that you are your own best way out.For Schlaifer, the underlying question is an epistemological one, an ontological one, a theological one. Why are we here, how do we know things, and why does God¿so often¿seem to be working against us? In Schlaifer¿s bureaucratic vision of the mind, readers will see their own internal voices affectingly (and often humorously) reflected. The book traverses unknowable terrain in sturdy boots. It unearths not answers but better questions for our time.

An electrifying feminist poetics combining language and visual collage to explore gender, landscape, taxidermy, and the idea of a ¿natural body¿An innovative book-length poem that delves into the intricacies of natural history dioramas, taxidermy, landscape, and women naturalists, Her Wilderness Will Be Her Manners is an experience of looking for ¿Woman¿s Work¿ in American natural history museums. Why, for instance, have the contributions of taxidermist and naturalist Martha Maxwell, the first person to create a ¿habitat group¿ display in the United States, and Delia Akeley, the wife of the ¿father of modern taxidermy,¿ been largely erased?Sarah Mangold mines language from natural history texts and taxidermy manuals from the 1800s to explore the perception and the reception of women in male-dominated scientific pursuits, as well as the doctrine of nature as pure, unpopulated, and outside historical and political time. A stunning work of visual and textual collage, Her Wilderness Will Be Her Manners creates a vibrant textual ecology that utilizes language as landscape while reshaping notions of nature and the natural.

Offers a collection of poems about family and memory.

"Voices in the singular and plural compel Henk Rossouw's Xamissa with such ecstatic stride as to match the intensity of human spectacle advancing the procession of Cape Town's history. The collective effect of alternating scenes and incantations reflect an ethical imperative of uncertainty. With formal ambition and acoustic scales of mind, Rossouw confronts a past haunted by racial brutality, even as it imagines an eventual social unity and the durational "anyway" that poetry's historical imagination is able to contain."-Roberto Tejada"Both poetry and the capacity to recover history's untold cruelties find a home in Xamissa, the name 'crossed-out' beneath the one we know, 'Cape Town.' In Henk Rossouw's stunning collection of this name, crossed-out histories refuse their erasure, spill their liquid meaning, and reclaim the name that means 'place of sweet waters.' But because what you see when you look at this place is too easy at first, you might miss that its bright surfaces are like 'a beautiful wet bag over the mouth of.' Xamissa misses nothing."-Gabeba Baderoon, author of The Dream in the Next Body, A Hundred Silences, and The History of Intimacy"In Xamissa, Henk Rossouw's artistic vision isn't borne out of the tyranny of spontaneous epiphany, but rather is carefully fleshed out through a constructivist process of cultural excavation. Nimbly threading History's objects ('nation,' 'city,' 'self,' 'peoples'), Rossouw guides us into and out of Imperium's capture zones. The result is a lived-life global poetics where the harmonic modulation from nationalist myth-making to a newly invigorated drive for liberationist re-definition of 'citizenship,' makes for a dazzling music of our time."-Rodrigo Toscano Xamissa is a book-length poem that sounds out the city of Cape Town in a joyful elegy for the city of alternate takes. Xamissa adapts the mythical name for the springs and streams running from Table Mountain to the sea, under the city itself, since before the colonial Dutch ships came-the X of the title standing in for the multiple ways in the languages of the Cape, past and present, the reader may pronounce the first consonant. A work of documentary poetics that investigates the cost of whiteness in South Africa, Xamissa code-switches at times into Lontara, the subversive Indonesian script that undercuts the prevalence of Dutch in the colonial archive. Through serial questions around the ethics of its address, Xamissa probes the interrelation of language, sociality, and resistance, in its bid to interrogate the archive as a draft of the city's future. Henk Rossouw teaches at the University of Louisiana at Lafayette. His poems have appeared in The Paris Review, The Massachusetts Review, The Boston Review, and other publications.

Julia Bouwsma (Author) Julia Bouwsma is the author of Work by Bloodlight (Cider Press Review, 2017).

"Among the leading poets of the newest generation of American writers." Molly Peacock

Jennifer Clarvoe's Invisible Tender is the first winner of the annual Poets Out Loud Prize for a book of poetry published each year by Fordham University Press in coordination with Fordham's Poets Out Loud program.

Explores the use of procedural constraints in the production of poetry, prose and prose poetry. Examines issues of realism, narrative and narrativity, and confronts the problem of how place is constructed on the page. Follows Aristotle's original On Generation and Corruption (or, On Coming to Be and Passing Away) in considering the question of permanence and change.

Cyclorama is a book of poems named after the theatre-sized, in-the-round oil paintings popular after the American Civil War. It features the voices of people often overlooked in representations of the war, such as nurse, child, draftee, prostitute, enslaved person, Native American soldier, and woman soldier.

The New York Editions is a Lycidan Dichterliebe to a distant Beloved, opening onto and out of a submerged, decades-long experimental translation of The New York Edition-Henry James's late-in-life reissue of his own novels and short stories-into poems, queerly calibrated to an optic of otherworldly contiguities.

Rotary Devotion examines the endangered imagination and the will to sing in chaos. It's titular motif of ceremonial disorientation moves through individual poems with relentless precision and exhilarating, transformative impact. The poems discover a difficult and necessary beauty in crisis by being themselves as plainly and directly as possible.

A collection of poems that celebrates and laments that "we are but decaying."

Spoken on the margin between death and birth, reading and writing, separation and union, the poems of Errings address the absent-a lost leader, a remote love, a protege not yet born-and across those distances delineate the motion of consciousness as it passes from one body to the next.

In Fannie + Freddie / The Sentimentality of Post-9/11 Pornography, Amy Sara Carroll 'undocuments' the quotidian's shades of gray/grey, the contingencies of post-Fordist relationality in the pre-Occupy window of time between September 11, 2001 and the 2008 Great Recession.

Chronicles the emotional journey through loss and grief by using a variety of poetic forms and literary traditions including the gothic and the surreal.

Continuous Frieze Bordering [Red] documents the migratory patterns of an Other as she travels between countries, languages, and shades of Rothko's red. A narrative on hybridity, the text navigates the instability of cultural border identities and functions as an ekphrasis of Rothko's bricked-in, water-damaged windows in his Seagram murals.

This text explores themes of familiarity and strangeness, asking the reader to consider the differences between them and where they overlap. Sampling from all forms of communication, the author implores us to greet the unknown and to listen in turn.

Explores the intersections between language, nature, science, and consciousness. This title takes its name from the multiverse, a science fiction concept that has become an accepted theory in physics. It suggests that reality comprises multiple dimensions in space and time.

The poems in "Crocus" take as their starting points the interior universes created by myth, art, and memory, and through the exploration of these terrains create new ways of understanding the ordinary.

Includes poems that convey a metaphysical meaning as well as a bodily intimacy.

Celebrates a woman's life from childhood to middle age, including the often-ignored subject of work, with a voice that is sometimes tender, sometimes whimsical, but always strong. By the winner of the 2003 Poets Out Loud Prize.

Julie Sheehan's Thaw is the second winner of the annual Poets Out Loud Prize for a book of poetry published each year by Fordham University Press in coordination with Fordham's Poets Out Loud program.

NAMED THE BEST POETRY OF 2020 BY THE NEW YORK TIMESMy Daily Actions, or The Meteorites is the result of a daily investigative writing practice, in which I was worried that a poem invested in the particulars of my life would be uninteresting¿that the "ordinary" would be mundane. Instead memory, dreams, and the associative power of the imagination filled each moment with meaning, each tv show I watched or friend I spoke with, each outfit I wore or nail polish color I chose. In these poems, a combination of dread (for something approaching) and anxiety (for what might be approaching but isn't yet known) undid a sense of the present separate from climate change, global racial capitalism, whiteness, and gender-based violence, especially as I wrote as I tried to find out how my own gender fit into the world. The prose poem is the vehicle by which a recording practice ("journaling") meets the associative power of the poem.

In scenery, lyric¿s public voice and memoir¿s personal reconciliations confront the archives of Americäs racial and legal histories, resulting in a genre-bending exploration of what it means to exist as oneself for an Other. The author, a Salvadorean immigrant and parent, reflects on the status of personhood in America between racial supremacy and racial disavowal, thinking through his own structural role as a naturalized citizen, and naturalization¿s historical condition in the denial of full legal and emotional Black personhood.This daring work delves into the archive of liberal humanism from colonial era writing on the competing status of slaves to the present, while the visual archive of public news provides an ekphrastic environment to the author¿s bigger lyric-memory: being the parent of a biracial American-born child in a contemporary era accentuated by violence, white nationalism, and fear. From seventeenth-century casta paintings up to contemporary coverage of domestic unrest and riots, from the delivery room to scenes of parenthood, Alvergue ponders: What is the kind of emotion a face demonstrates, or a body, an assembly? scenery approaches, in an asymptotic manner, the empathy we come to feel when the language we¿ve made is dulled by the roles we are also expected to occupy against one another.