• finalist for the National Book Award for his second book • Publishers Weekly described Ben Lerner as “among the most promising young poets now writing.” • Lerner is barely 30, publishing his third book • BA and MFA from Brown University • former student of C.D. Wright • teaches poetry at University of Pittsburgh • at age 23, he was the youngest poet published by Copper Canyon Press • author of two previous books of poetry • Fulbright scholar to Spain
“Wright has found a way to wed fragments of an iconic America to a luminously strange idiom, eerie as a tin whistle, which she uses to evoke the haunted quality of our carnal existence.”—The New Yorker Inspired by numerous visits inside Louisiana state prisons—where MacArthur Fellow C.D. Wright served as a “factotum” for a portrait photographer—One Big Self bears witness to incarcerated men and women and speaks to the psychic toll of protracted time passed in constricted space. It is a riveting mosaic of distinct voices, epistolary pieces, elements from a moralistic board game, road signage, prison data, inmate correspondence, and “counts” of things—from baby’s teeth to chigger bites: Count your folding money Count the times you said you wouldn’t go back Count your debts Count the roaches when the light comes on Count your kids after the housefire One Big Self—originally published as a large-format limited edition that featured photographs and text—was selected by The New York Times and The Village Voice as a notable book of the year. This edition features the poem exclusively. C.D. Wright is the author of ten books of poetry, including several collaborations with photographer Deborah Luster. She is a professor at Brown University.
In his bold second book, Ben Lerner molds philosophical insight, political outrage, and personal experience into a devastating critique of mass society. Angle of Yaw investigates the fate of public space, public speech, and how the technologies of viewing—aerial photography in particular—feed our culture an image of itself. And it’s a spectacular view.The man observes the action on the field with the tiny television he brought to the stadium. He is topless, painted gold, bewigged. His exaggerated foam index finger indicates the giant screen upon which his own image is now displayed, a model of fanaticism. He watches the image of his watching the image on his portable TV on his portable TV. He suddenly stands with arms upraised and initiates the wave that will consume him.Haunted by our current “war on terror,” much of the book was written while Lerner was living in Madrid (at the time of the Atocha bombings and their political aftermath), as the author steeped himself in the history of Franco and fascism. Regardless of when or where it was written, Angle of Yaw will further establish Ben Lerner as one of our most intriguing and least predictable poets.
“The heart of Orr’s poetry, now as ever, is the enigmatic image . . . mystical, carnal, reflective, wry.”— San Francisco Review This book-length sequence of ecstatic, visionary lyrics recalls Rumi in its search for the beloved and its passionate belief in the healing qualities of art and beauty. Concerning the Book that is the Body of the Beloved is an incantatory celebration of the “Book,” an imaginary and self-gathering anthology of all the lyrics—both poems and songs—ever written. Each poem highlights a distinct aspect of the human condition, and together the poems explore love, loss, restoration, the beauty of the world, the beauty of the beloved, and the mystery of poetry. The purpose and power of the Book is to help us live by reconnecting us to the world and to our emotional lives. I put the beloved In a wooden coffin. The fire ate his body; The flames devoured her. I put the beloved In a poem or song. Tucked it between Two pages of the Book. How bright the flames. All of me burning, All of me on fire And still whole. There is nothing quite like this book—an “active anthology” in the best sense—where individuals find the poems and songs that will sustain them. Or the poems find them. Gregory Orr is the author of eight books of poetry, four volumes of criticism, and a memoir. He has received numerous awards for his work, most recently the Academy Award in Literature from the American Academy of Arts and Letters. Orr has taught at the University of Virginia since 1975 and was, for many years, the poetry editor of The Virginia Quarterly Review . He lives with his family in Charlottesville, Virginia.
The Lichtenberg Figures , winner of the Hayden Carruth Award, is an unconventional sonnet sequence that interrogates the relationship between language and memory, violence and form. “Lichtenberg figures” are fern-like electrical patterns that can appear on (and quickly fade from) the bodies of people struck by lightning. Throughout this playful and elegiac debut—with its flashes of autobiography, intellection, comedy, and critique—the vocabulary of academic theory collides with American slang and the idiom of the Old Testament meets the jargon of the Internet to display an eclectic sensibility. Ben Lerner , the youngest poet ever published by Copper Canyon Press, is co-founder of No: a journal of the arts . He earned an MFA from Brown University and is currently a Fulbright scholar in Spain.
Name another American poet who has been honored with a limited edition replica of his race-car—“Dan Gerber’s 1965 Shelby R-Model” Gerber is an ordained Zen priest A previous Gerber poetry title received Foreword magazine's “Best Book of the Year” Award Gerber's work has appeared in many national publications, including The New Yorker; Poetry; Playboy; Sports Illustrated; The Nation
"Every line resonates with a wind that crosses oceans."—Jamaal May "Zamora's work is real life turned into myth and myth made real life." — Glappitnova Javier Zamora was nine years old when he traveled unaccompanied 4,000 miles, across multiple borders, from El Salvador to the United States to be reunited with his parents. This dramatic and hope-filled poetry debut humanizes the highly charged and polarizing rhetoric of border-crossing; assesses borderland politics, race, and immigration on a profoundly personal level; and simultaneously remembers and imagines a birth country that's been left behind. Through an unflinching gaze, plainspoken diction, and a combination of Spanish and English, Unaccompanied crosses rugged terrain where families are lost and reunited, coyotes lead migrants astray, and «the thin white man let us drink from a hose / while pointing his shotgun.» From «Let Me Try Again»: He knew we weren't Mexican.He must've remembered his familycoming over the border, or the bordercoming over them, because he drove usto the border and told us next time, restat least five days, don't trust anyone callingthemselves coyotes, bring more tortillas, sardines,Alhambra. He knew we would try again.And again—like everyone does. Javier Zamora was born in El Salvador and immigrated to the United States at the age of nine. He earned a BA at UC-Berkeley, an MFA at New York University, and is a 2016–2018 Wallace Stegner Fellow at Stanford University.
“I will call the voice of this poet a ‘common’ voice… a voice a poet could take into an entire lifetime of memorable writing.” —Philip Levine, Ploughshares This second collection from APR-Honickman winner Tomás Q. Morín explores love gone sideways in the lives of lovers, parents and children, humans and the divine. Patient Zero is filled with voices—of all the people, places, and things that surround a life sick with heartbreak. Doors are the wooden tongues of a house, grocery-store cashiers are gatekeepers to the infinite, and food is the all-powerful life force behind every living thing. From Patient Zero Love is a worried, old heartdisease, as Son House once put it, the very stuffblues are made of, real blues that consist of a male and female, not monkey junklike the “Okra blues” or “Pay Day blues,”though I think House would agreetwo hearts of any persuasion are enough for a real blues,if one of them is sick, that sickly green of a frogbitten in two by the neighbor’s dog, all of whichmakes me wonder about the source of our diseaseand whose teeth first tore the heart after Adamand Eve left the garden?… Tomás Q. Morín's debut poetry collection A Larger Country was the winner of the APR/Honickman Prize. He is co-editor with Mari L'Esperance of the anthology Coming Close, and translator of The Heights of Macchu Picchu by Pablo Neruda. He teaches at Texas State University and in the low residency MFA program of Vermont College of Fine Arts.
"James Galvin has a voice and a world, perhaps the two most difficult things to achieve in poetry."—The Nation "Bleak and unsentimental but blessedly free of self-indulgence, these poems give the feeling of being absolutely essential."—Library Journal "Galvin [has] the virtues of precise observation and original language . . . a rigor of mind and firmness of phrasing which make [each] poem an architectural pleasure."—Harvard Review In his first collection in seven years, James Galvin expands upon his signature spare and gnomic lyric as he engages restrained astonishment, desire, and loss in a confessional voice. Whether considering masterpieces of painting or describing the austere landscape of his native Wyoming ranchlands, Galvin turns to highly imagistic yet intimate narratives to rain down compassion within isolation. From «On the Sadness of Wedding Dresses»: On starless, windless nights like thisI imagineI can hear the wedding dressesWeeping in their closets,Luminescent with hopeless longing,Like hollow angels.They know they will never be worn again.Who wants them now,After their one heroic day in the limelight?Yet they glow with desireIn the darkness of closets. James Galvin passionately depicts the rural American West and the interactions between humans and nature in his best-selling memoir The Meadow and his novel Fencing the Sky. Galvin is also the author of several volumes of poetry and teaches at the Iowa Writers' Workshop. He divides his time between Iowa and Wyoming.
A starred review in Library Journal says this about Eventually One Dreams the Real Thing: “Only a poet as accomplished as Boruch could make such beautiful verse while leading us through the everyday, of life’s subtle, steady shiftings (‘the bird’s hunger, seeking shape’). If the opening image of a pool filled with cruelly dredged up roses bespeaks quiet assent (‘I stood before them the way an animal/ accepts sun’), the next poem turns immediately to progress (and hence progression) as a modern invention beyond the heaven-and-hell alternatives; finally, the poet concedes, ‘I lose track of my transitions.’ In fact, transition defines us. Here, a static painting gives way to ‘between and among,’ a simple typeface never yields a perfect copy, and even in a medieval score, two exquisite quavers are connected by a slur. Highly recommended.” "Marianne Boruch's work has the wonderful, commanding power of true attention: She sees and considers with intensity."—The Washington Post"Boruch refuses to see more than there is in things—but her patience, her willingness to wait for the film of familiarity to slip, allows her to see what is there with a jeweler's sense of facet and flaw."—PoetryIn her tenth volume of poetry, Marianne Boruch displays a historical omnipresence, as she converses with Dickinson, envisions Turner painting, and empathizes with Arthur Conan Doyle. She looks unabashedly at the brutality of recent history, from drone warfare to the disaster in New Orleans from Hurricane Katrina. Poems that turn her gaze towards childhood, nature, animals, and her own poetics are patches of light in the collection's chiaroscuro. From «Before and Every After»:Eventually one dreams the real thing.The cave as it was, what we paid to straddlea skinny box-turned-seat down the middle, narrow boatmade special for the state park, the wet, the trickypassing into rock and underground river.A single row of strangers faced front, each of usbehind another closeas dominoes to fall or we were angels lined uppolitely, pre-flight…Marianne Boruch is the author of ten collections of poetry. She is the 2013 recipient of the Kingsley Tufts Poetry Award, and has taught at Purdue University since the inception of their MFA program. She lives in West Lafayette, Indiana.