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<P>Things Come On is a broken and sutured hybrid of forms, combining poetry, prose narration, primary documents, dramatic dialogue, and pictures. The narrative is woven around the almost exact concurrence of the Watergate scandal and the dates of the poet's mother's illness and death from breast cancer, and weaves together private and public tragedies—showing how the language of illness and of political cover-up powerfully resonate with one another. The resulting «amneoir» (a blend of «memoir» and «amnesia») explores a time for which the author must rely largely on testimony and documentary evidence—not unlike the Congress and the nation did during the same period. Absences, amnesia, and silences count for at least as much as words. As the double tragedy unfolds, it refuses to become part of an overarching system, metaphor, or metanarrative, but rather raises questions of memory and evidence, gender and genre, personal and political, and expert vs. lay language. This haunting experimental biography challenges our assumptions about the distance between individual experience and history. A reader's companion is available at http://thingscomeonreader.site.wesleyan.edu/</P><P><B>Hardcover is un-jacketed.</B></P>
Just Saying
<P>In Just Saying, improbable and even untenable speakers are briefly constituted—only to disappear. The result is part carnival, part nightmare. A television pundit's rhetoric segues into an unusual succulent with writhing maroon tongues. When the world suddenly becomes legible, is that revelation or psychosis? In this book, the voice of the Lord and/or the voice of the security state can come from anyplace. The problem of identity becomes acute. The poems in Just Saying may be imagined as chimeras, creatures that appear when old distinctions break down and elements generally kept separate combine in new ways. Here Armantrout both worries (as a dog worries a bone) and celebrates the groundless fecundity of being and of language.</P>
The Wesleyan Tradition
<P>Since issuing its first volumes in 1959, the Wesleyan poetry program has challenged the reigning aesthetic of the time and profoundly influenced the development of American poetry. One of the country's oldest programs, its greatest achievement has been the publication of early works by yet undiscovered poetry who have since become major awarded Pulitzer and Bollingen prizes, National Book Awards, and many other honors. At a time when other programs are being phased out, Wesleyan takes this opportunity to celebrate its distinguished history and reaffirm its commitment to poetry with publication of The Wesleyan Tradition.</P><P>Drawing from some 250 volumes, editor Michael Collier documents the wide-ranging impact of these works. In his introduction, he describes the literary and cultural context of American poetics in more recent decades, tracing the evolution of the Deep Image and Confessional movements of the 50s and 60s, and exploring the emergence of the «prose lyric» style. Although the success of the Wesleyan program has inspired its share of imitators, no other program has had such a fundamental impact. Works by the eighty-six poets included her both document and celebrate that contribution.</P>
The Modern Dance
<P>CONTRIBUTORS: Jose Limon, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolas, Pauline Koner, Paul Taylor.</P>
Kazan Revisited
<P>A groundbreaking filmmaker dogged by controversy in both his personal life and career, Elia Kazan was one of the most important directors of postwar American cinema. In landmark motion pictures such as A Streetcar Named Desire, On the Waterfront, East of Eden, and Splendor in the Grass, Kazan crafted an emotionally raw form of psychological realism. His reputation has rested on his Academy award-winning work with actors, his provocative portrayal of sexual, moral, and generational conflict, and his unpopular decision to name former colleagues as Communists before the House Un-American Activities Committee in 1952. But much of Kazan's influential cinematic legacy remains unexamined. Arriving in the wake of his centenary, Kazan Revisited engages and moves beyond existing debates regarding Kazan's contributions to film, tackling the social, political, industrial, and aesthetic significance of his work from a range of critical perspectives. Featuring essays by established film critics and scholars such as Richard Schickel (Time), Victor Navasky (The Nation), Mark Harris (Entertainment Weekly), Kent Jones (Film Comment), Jonathan Rosenbaum (Essential Cinema, 2004), Jeanine Basinger (The Star Machine, 2007), and Leo Braudy (On the Waterfront, 2008), this book is a must for diehard cinephiles and those new to Kazan alike.</P><P>Contributors include: JEANINE BASINGER, LEO BRAUDY, LISA DOMBROWSKI, HADEN GUEST, MARK HARRIS, KENT JONES, PATRICK KEATING, SAVANNAH LEE, BRENDA MURPHY, VICTOR NAVASKY, BRIAN NEVE, JONATHAN ROSENBAUM, RICHARD SCHICKEL, ANDREW TRACY, and SAM WASSON.</P>
Silence in the Snowy Fields
<P>The poems of Robert Bly are rooted deep in the earth. Snow and sunshine, barns and cornfields and cars on the empty nighttime roads, abandoned Minnesota lakes and the mood of America now—these are his materials. He sees and talks clearly: he uses no rhetoric nor mannered striving for effect, but instead the simple statement that in nine lines can embody a mood, reveal a profound truth, illuminate in an important way the inward and hidden life. This is a poet of the modern world, thoroughly aware of the complexities of the moment but equally mindful of the great stream of life—all life—of which mankind is only a part.</P>
Elegguas
<P>Kamau Brathwaite is a major Caribbean poet of his generation and one of the major world poets of the second half of the twentieth century. Elegguas—a play on «elegy» and «Eleggua,» the Yoruba deity of the threshold, doorway, and crossroad—is a collection of poems for the departed. Modernist and post-modernist in inspiration, Elegguas draws together traditions of speaking with the dead, from Rilke's Duino Elegies to the Jamaican kumina practice of bringing down spirits of the dead to briefly inhabit the bodies of the faithful, so that the ancestors may provide spiritual assistance and advice to those here on earth. The book is also profoundly political, including elegies for assassinated revolutionaries like in the masterful «Poem for Walter Rodney.»</P><P>Throughout his poetry, Brathwaite foregrounds «nation-language,» that difference in syntax, in rhythm, and timbre that is most closely allied to the African experience in the Caribbean, using the computer to explore the graphic rendition of nuances of language. Brathwaite experiments using his own Sycorax fonts, as well as deliberate misspellings («calibanisms») and deviations in punctuation. But this is never simple surface aesthetic, rather an expression of the turbulence (in history, in dream) depicted in the poems. This collection is a stunning follow-up to Brathwaite's Born to Slow Horses (Wesleyan, 2005), winner of the Griffin International Poetry Prize.</P>