As Cole Swensen argues in the introduction to this comprehensive new anthology, the long-acknowledged "fundamental division" between experimental and traditional is disappearing in American poetry in favor of hybrid approaches that blend trends from accessible lyricism to linguistic exploration. The focus in American Hybrid is on the blend; the more than seventy poets featured here--including Jorie Graham, Albert Goldbarth, and Lyn Hejinian--have found new and often unique ways to reconfigure the innumerable and sometimes conflicting voices of the past thirty years. The editors have crafted short introductory essays on each of the poets in the anthology, providing biographical backgrounds and positioning them within the current of contemporary poetry. This new anthology is essential reading for those who care about the present moment--and the future--of American verse.

An anthology of poems about the experience of being a woman With 30 rousing and empowering poems: For mothers, daughters, sisters, wives, partners, and friends, There Are Girls Like Lions is a celebration of womanhood in all its dimensions, including love, beauty, friendship, motherhood, work, aging, and much more. This powerful collection of poems will resonate with any modern woman. * Foreword by award-winning American poet Cole Swensen who has authored more than ten books of poetry * Striking illustrations in metallic ink throughout * With poems from a variety of women poets including Margaret Atwood, Edna St. Vincent Millay, Kimiko Hahn, Elisabeth Hewer, Rachel Zucker, Emily Dickinson, Naomi Shihab Nye, and more Fans of the novel An American Marriage, The Future is Feminist, and Women of Resistance will be inspired and empowered by There are Girls Like Lions. Discover 30 poems that honor and celebrate the experience of being a woman. * Packaged in an attractive case with foil stamping ready to give or receive * Great Mother's Day, birthday, or anytime gift for the strong women in your life

Progressing by image and word associations, Fremon evokes Bourgeois's history and inner life, bringing a sense of fascinating and moving proximity to the internationally renowned artist... The art world's grande dame and its shameless old lady, who spun personal history into works of profound strangeness, speaks out with her characteristic insolence and wit, and comes to vibrant life again through the words of a most discrete, masterful writer. From her childhood in France to her exile and life in America, to her death; her relationships to her family and her young assistant, her views on landmark male artists, the genesis of her own work... through the moods, barbs, resentments, reservations and back, at full speed - this is a phosphorescent account of Bourgeois's life, as could only be captured by the imagination of one artist regarding another.

Studded with five gouache drawings by Louise Bourgeois, this erudite, witty fable by the acclaimed author of Now, Now, Louison (2018) considers the ambiguous figure of the baby Jesus and its representation in the artistic canon.' 'One day in 2007,' recalls Jean Fremon about a visit to artist Louise Bourgeois's studio, 'I discovered an entirely new series of drawings.... silhouettes of women with embryos in their wombs, drawn with a brush full of water and red gouache. These drawings were, for me, the most poignant of her long career.'

Historically, much landscape art has reinforced binaries such as inside/outside, subject/object, and culture/nature, thus reducing a complex network to an ornament that reinforces a sense of human power over nature, imposes specific cultural values, and/or claims or exercises control. And yet there are also artists who have developed alternatives to conventional depictions of the world around them, using landscape to participate in the earth, active in its view and its viewing. The art addressed in the book presents landscape as engagement rather than as detached observation, encouraging an increased sense of belonging to, and thus responsibility for, the earth.

Poetry. Translated from the French by Cole Swensen. For over twenty-five years, Nicolas Pesques has been writing an homage to Juliau, the mountain he sees out his window. In PHYSIS, the fifth book of the series, he weaves philosophical reflection in and out of an encounter with the body of the mountain, the body of language, and the human body that bridges the two. Employing an exquisitely spare, precise phrasing, PHYSIS underscores the distance on which all landscape is based, searching out the ways in which humans work to make a home on earth

"Ghosts appear in place of whatever a given people will not face" (p. 65)
The poems in "Gravesend" explore ghosts as instances of collective grief and guilt, as cultural constructs evolved to elide or to absorb a given society's actions, as well as, at times, to fill the gaps between such actions and the desires and intentions of its individual citizens. Tracing the changing nature of the ghostly in the western world from antiquity to today, the collection focuses particularly on the ghosts created by the European expansion of the 16th through 20th centuries, using the town of Gravesend, the seaport at the mouth of the Thames through which countless emigrants passed, as an emblem of theambiguous threshold between one life and another, in all the many meanings of that phrase.