Williamson examines Robert Lowell's poetic expression of his discontent with American civilization.

WINNER OF THE 2018 NORTHERN CALIFORNIA BOOK AWARD FOR POETRY TRANSLATIONIn this first US publication of celebrated Italian poet Bianca Tarozzi, narrative poems (presented bilingually in both English and the original Italian) carry us through the poet's childhood memories of World War II under Mussolini, harsh post-war conditions, and mid-century changes that transformed Italian life, specifically for women. A unique figure in contemporary Italian poetry, Tarozzi draws significant influence from acclaimed American poets Robert Lowell, Elizabeth Bishop, and James Merrill interweaving powerful subjects with humor and heart. After: you have packed the suitcase, shut off the gas, turned all the lights out, locked the window and the big outside door, when you lean against a wall, afraid of falling, and wait, expecting the vehicle, the means that will transport you far away, when the sky sails clear, blue, and annihilating above the overpass, and you have no past or future, in that empty moment poetry pitches its tent. Bianca Tarozzi was born in Bologna in 1941. Her father was a political prisoner under Mussolini, and then a Senator after the war. She received a degree from Ca' Foscari University of Venice, and taught English and American Literature for many years at the University of Verona. The recipient of numerous literary honors, she has translated into Italian the works of Elizabeth Bishop, Emily Dickinson, James Merrill, Richard Wilbur, A. E. Housman, Denise Levertov, and Louise Gluck. Also the author of many books of poetry, she began writing poems in 1947, and continues to this day. She currently splits her time between Venice and Milan, Italy.

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Gender criticism, Alan Williamson argues, has for too long been shaped and limited by the same dualisms that have defined male versus female literary voices in Western culture. Certain emotions expressed in literature are considered "feminine," certain emotions are typed as "masculine," and there is little room in critical studies for the male writer who shares in feminine experiences or who finds himself on the wrong ideological side of those firmly gendered dichotomies.

Confined by such strict codes, male writers--homosexual, bisexual, or heterosexual--possessing the sensibilities typecast as feminine often face a crisis of gender identity. They struggle to overcome early childhood experience and adult cultural expectations as men with feminine creative emotions that are often repressed in more conventionally masculine lives.

Almost a Girl challenges both feminist orthodoxy and men's movement thinking to show how several important male writers have drawn creative strength from their identification with, even envy of, a positive image of the feminine. Williamson opposes the feminist argument that men cannot really empathize with female experience, as well as the men's movement's insistence that female identification is common but psychically dangerous. As he explores the psychic confusion, even torment, and ambivalence toward women that accompanied their mixed gender identification, Williamson honors the works and imaginative courage of such diverse writers as Rainer Maria Rilke, Randall Jarrell, D.H. Lawrence, and Cesare Pavese.

Gender criticism, Alan Williamson argues, has for too long been shaped and limited by the same dualisms that have defined male versus female literary voices in Western culture. Certain emotions expressed in literature are considered "feminine," certain emotions are typed as "masculine," and there is little room in critical studies for the male writer who shares in feminine experiences or who finds himself on the wrong ideological side of those firmly gendered dichotomies.

Confined by such strict codes, male writers--homosexual, bisexual, or heterosexual--possessing the sensibilities typecast as feminine often face a crisis of gender identity. They struggle to overcome early childhood experience and adult cultural expectations as men with feminine creative emotions that are often repressed in more conventionally masculine lives.

Almost a Girl challenges both feminist orthodoxy and men's movement thinking to show how several important male writers have drawn creative strength from their identification with, even envy of, a positive image of the feminine. Williamson opposes the feminist argument that men cannot really empathize with female experience, as well as the men's movement's insistence that female identification is common but psychically dangerous. As he explores the psychic confusion, even torment, and ambivalence toward women that accompanied their mixed gender identification, Williamson honors the works and imaginative courage of such diverse writers as Rainer Maria Rilke, Randall Jarrell, D.H. Lawrence, and Cesare Pavese.

Alan Williamson artfully joins social and literary history with personal experience in "The Pattern More Complicated," a collection of his very best poems over the last twenty years. A powerful section of new poems draws the whole work together in a kind of autobiographical novel, as--in Eliot's phrase, from which the title is taken--"the pattern of dead and living" grows "more complicated" with the years. Williamson's verse is a refreshing examples of how delicately the personal can intersect with the public in a love for the considered life.
"The Pattern More Complicated" assembles Williamson's most important, representative poems, marking the trajectory of poetic development and the recurrence of themes across the span of four previous collections to present a survey of a major American poet in a single volume.

This collection of poetry faithfully moves from the private to the publ ic, from individual experience to civic responsibility through an elegy for the 1960s and the world that has become our own. The meditative analysis is expanded, from introspection to the troubled psyche of Vietnam-age America. In poems like "La Pastorela" there is an overlay of classical and popular echoes, heightening personal reminiscences.

In Love and the Soul's title poem, a male speaker asks "not to believe/that what lights up the world from within is always the wrong thing" and is answered by a female speaker midway through the book who says "I don't think men and women/are meant to have relationships any more." Between these poles, Williamson's powerful collection explores the enormous burden of expectation that our culture has placed on love and its gifts to the soul.