Arthur Sze is one of the most intensely musical and visionary poets writing today The Redshifting Web spans more than a quarter-century of published work and makes available for the first time the full range of his poetry. It includes selections from five previous books (including the entirety of Archipelago, Dazzled, and River, River), as well as a generous selection of new poems.

Through a startling juxtaposition of images and ideas, Sze reveals the interconnectedness, the interdependency of things and ideas, always with an ear attuned to pitch and cadence. In his poetry, the past is ever-present, so that one finds Zen monks carrying fax machines, Hopi kachina dolls alongside Japanese pachinko parlors, plastic bowls among relics of the Han dynasty, the complexities of contemporary culture revealed as an elegant fabric woven of many threads.

Page by page, this book takes us on a journey through the built world that ranges from Greece to Guatemala and from New York to San Francisco. Tedlock practices what he calls photowriting, a creative process that brings photographer and writer together in the same person. It may be true enough that a photograph can show more than words can say, but it is equally true that words can say more than a photograph can show. A third space opens up in the middle, where the viewer-reader can look back and forth between image and text at will.

Tedlock looks at the built world with the eye of an archaeologist and ethnographer. His long experience as a fieldworker has made him acutely aware of the ways in which buildings are continuously altered by human actions and natural forces. Anthropology assigns ruins to archaeology and structures currently in use to ethnology, but Tedlock reminds the viewer that an occupied building bears marks of the same processes that produce archaeological remains. As he puts it, "Whenever I look around at the worlds humans build for themselves, I see archaeology in the making."

Before and since his enforced exile, Yang Lian has been one of the most innovative and influential poets in China. Widely hailed in America and Europe as a highly individual voice in world literature, he has been translated into many languages. "Lee Valley Poems" is his first book to be wholly conceived and written in London, once his place of exile and now his permanent home. It includes an extended sequence, "When Water Confirms", translated by Brian Holton and Agnes Hung-Chong Chan, and a suite of shorter poems translated by several poets, most of these working with Yang Lian: Polly Clark, Antony Dunn, Jacob Edmond, W.N. Herbert, Pascale Petit, Fiona Sampson and Arthur Sze. The book's preface, A Wild Goose Speaks to me, takes as its springboard Yang Lian's comment 'There is no international, only different locals'. With this perspective, the Lee Valley of his first London poems becomes the international inside the local: the poet may travel far but never really leaves the ground of his own inner self, and the value and joy of poetry is seen as fishing in the deep sea of existence. This title is published in a dual language Chinese-English edition.

"Sze brings together disparate realms of experience--astronomy, botany, anthropology, Taoism-and observes their correspondences with an exuberant attentiveness."-"The New Yorker"

"Sze's poems seem dazzled and haunted by patterns."-"The Washington Post"

"Quipu" was a tactile recording device for the pre-literate Inca, an assemblage of colored knots on cords. In his eighth collection of poetry, Arthur Sze utilizes "quipu" as a unifying metaphor, knotting and stringing luminous poems that move across cultures and time, from elegy to ode, to create a precarious splendor.

"Revelation never comes as a fern uncoiling
a frond in mist; it comes when I trip on a root,
slap a mosquito on my arm. We go on, but stop
when gnats lift into a cloud as we stumble into
a bunch of rose apples rotting on the ground."

Long admired for his poetic fusions of science, history, and anthropology, in "Quipu," Sze's lines and language are taut and mesmerizing, nouns can become verbs-"where is passion that orchids the body?"-and what appears solid and -stable may actually be fluid and volatile.

"A point of exhaustion can become a point of renewal:
it might happen as you observe a magpie on a branch,
or when you tug at a knot and discover that a grief
disentangles, dissolves into air. Renewal is not
possible to a calligrapher who simultaneously
draws characters with a brush in each hand;
it occurs when the tip of a brush slips yet swerves
into flame . . ."

Arthur Sze is the author of eight books of poetry and a volume of translations. He is the recipient of an Asian American Literary Award, a Lannan Literary Award, and fellowships from the Witter Bynner Foundation and the National Endowment for the Arts. He teaches at the Institute of American Indian Arts and lives in New Mexico.

" Sze] brings together disparate realms of experience--astronomy, botany, anthropology, Taoism--and observes their correspondences with an exuberant attentiveness."--"The New Yorker"

A child playing a game, tea leaves resting in a bowl, an abandoned dog, a foot sticking out from a funeral pyre, an Afghan farmer pausing as mortars fire at the enemy: in Arthur Sze's tenth book, the world spins on many points of reference, unfolding with full sensuous detail.

Arthur Sze is the author of "The Ginkgo Light" (2009), "Quipu" (2005), and "The Redshifting Web" (1998). He lives in Santa Fe, New Mexico.

"These photographs burn in the retina and then in the body and mind. They unfold with uncanny and luminous elegance."--from the Introduction by Arthur Sze
In a bold departure from her traditional portraiture, acclaimed photographer Mariana Cook turns her eye to the lovely, overlooked world found close at hand. Beginning January 1, 1999, one year before the new millennium, Cook set herself the task of taking one very serious photograph every day, forcing her to look anew at everything surrounding her. The resulting work is a passionate celebration of looking closely. This is not a diary or self-interested exhibition, rather it is a celebration of form and transformation, a warm and thankful awareness of the world around us. It is impossible to resist these tender images--a child's feet in the sand, bands of light on the living room floor, a single glistening oyster--or to remain unaffected by the subtle poignancy of the familiar made mysterious. 96 duotone photographs.