This stunning collection gathers never-before-seen poems, found by archivists in boxes kept at the Pablo Neruda Foundation in Chile in 2014. Neruda is renowned for poetry that casts away despair and celebrates living, fired by his belief that there is no unsurmountable solitude. Then Come Back presents Neruda's mature imagination and writing: signature love poems, odes, anecdotes, and poems of the political imagination. Translator Forrest Gander beautifully renders the eros and heartache, deep wonder and complex wordplay of the original Spanish, which is presented here alongside full-colour reproductions of the poems in their original composition on napkins, playbills, receipts, and in notebooks. Then Come Back: The Lost Neruda simultaneously completes and advances the oeuvre of the Nobel Laureate. Discovered during the cataloguing of Neruda's papers, there are 21 poems in all, together with detailed notes about how they relate to his published work.

Drawing from his experience as a translator, Forrest Gander includes in the first, powerfully elegiac section a version of a poem by the Spanish mystical poet St. John of the Cross. He continues with a long multilingual poem examining the syncretic geological and cultural history of the U.S. border with Mexico. The poems of the third section-a moving transcription of Gander's efforts to address his mother dying of Alzheimer's-rise from the page like hymns, transforming slowly from reverence to revelation. Gander has been called one of our most formally restless poets, and these new poems express a characteristically tensile energy and, as one critic noted, "the most eclectic diction since Hart Crane."

The Galloping Hour: French Poems-never before rendered in English and unpublished during her lifetime-gathers for the first time all the poems that Alejandra Pizarnik (revered by Octavio Paz and Roberto Bolano) wrote in French. Conceived during her Paris sojourn (1960-1964) and in Buenos Aires (1970-1971) near the end of her tragically short life, these poems explore many of Pizarnik's deepest obsessions: the limitation of language, silence, the body, night, sex, and the nature of intimacy. Drawing from personal life experiences and echoing readings of some of her beloved/accursed French authors-Charles Baudelaire, Germain Nouveau, Arthur Rimbaud, and Antonin Artaud-this collection includes prose poems that Pizarnik would later translate into Spanish. Pizarnik's work led Raul Zurita to note: "Her poetry-with a clarity that becomes piercing-illuminates the abysses of emotional sensitivity, desire, and absence. It presses against our lives and touches the most exposed, fragile, and numb parts of humanity."

In the searing poems of his new collection, Twice Alive, the Pulitzer Prize-winner Forrest Gander addresses the exigencies of our historical moment and the intimacies, personal and environmental, that bind us to others and to the world. Drawing from his training in geology and his immersion in Sangam literary traditions, Gander invests these poems with an emotional intensity that illuminates our deep-tangled interrelations. While conducting fieldwork with a celebrated mycologist, Gander links human intimacy with the transformative collaborations between species that compose lichens. Throughout Twice Alive, Gander addresses personal and ecological trauma-several poems focus on the devastation wrought by wildfires in California where he lives-but his tone is overwhelmingly celebratory. Twice Alive is a book charged with exultation and tenderness.

For over thirty years, Eiko & Koma, the Japanese-born choreographers and dancers,have created an influential theatre of movement out of stillness, shape, light, and sound. In tribute and collaboration, the acclaimed American poet Forrest Gander has written a mesmerizing series of poems - hinging around a dance schematic - that captures and extends the dancers' performance with lyrical intensity and vividness.

The Trace is a masterful, poetic novel about a journey through Mexico taken by a couple recovering from a world shattered. Driving through the Chihuahua Desert, they retrace the route of nineteenth-century American writer Ambrose Bierce (who disappeared during the Mexican Revolution) and try to piece together their lives after a devastating incident involving their adolescent son. With tenderness and precision, Gander explores the intimacies of their relationship as they travel through Mexican towns, through picturesque canyons and desertcapes, on a journey through the the heart of the Mexican landscape. Taking a shortcut through the brutally hot desert home, their car overheats miles from nowhere, the novel spinning out of control, with devastating consequences. . . . Poet Forrest Gander's first novel As a Friend was acclaimed as "profound and relentlessly beautiful (Rikki Ducornet). With The Trace, Gander has accomplished another brilliant work, containing unforgettable poetic descriptions of Mexico and a story both violent and tender.

Poetry. Translation. FUNGUS SKULL EYE WING is a book of shifting subjectivity and liquid perspective, of surrealist tradition and Butoh- like gestures. The text flirts with the margins of the "rational," perception, and the subjective mind. The speaker morphs into what he observes; speech comes alive while a plant becomes speech. Impeccably translated from Spanish by award- winning poet Forrest Gander in a bilingual edition. "Alfonso D'Aquino was raised by his grandmother in an old house attached to a colonial convent in Coyoacan, Mexico. He never met his parents. Books were his best friends from an early age. Often solitary, he spent many afternoons at a small aquarium in the nearby town of San Angel, fascinated then as now by the non- human."--Forrest Gander

Jaime Saenz is arguably the greatest Bolivian writer of the twentieth century. His poetry is apocalyptic, transcendent, hallucinatory, brilliant--and, until recently, available only in Spanish. Forrest Gander and Kent Johnson's translations of Saenz's work have garnered much-deserved attention and acclaim. Here for the first time in English they give us his masterpiece, "The Night," Saenz's most famous poem and the last he wrote before his death in 1986.

An unusual man, Saenz lived his whole life in La Paz, Bolivia, seldom venturing far from the city and its indigenous culture that feature so prominently in his writings. He sought God in unlikely places: slum taverns, alcoholic excess, the street. Saenz was nocturnal. He once stole a leg from a cadaver and hid it under his bed. On his wedding night he brought home a panther.

In this epic poem, Saenz explores the singular themes that possessed him: alcoholism, death, nightmares, identity, otherness, and his love for La Paz. The poem's four movements culminate in some of the most profoundly mystical, beautiful, and disturbing passages of modern Latin American poetry. They are presented here in this faithful and inspired English translation of the Spanish original.

Complete with an introduction by the translators that paints a vivid picture of the poet's life, and an afterword by Luis H. Antezana, a notable Bolivian literary critic and close friend of Saenz, this bilingual edition is the essential introduction to one of the most visionary and enigmatic poets of the Hispanic world.

This boxed set of the first twelve collections in the New Directions Poetry Pamphlet series contains:

Osama Alomar's Fullbood Arabian H. D.'s Vale Ave Lawrence Ferlinghetti's Blast Cries Laughter Forrest Gander's Eiko & Koma Oliverio Girondo's Poems to Read on a Streetcar Susan Howe's Sorting Facts, or 19 Ways of Looking at Chris Marker Sylvia Legris's Pneumatic Antiphonal Bernadette Mayer's The Helens of Troy, New York Dunya Mikhail's 15 Iraqi Poets Alejandra Pizarnik's A Musical Hell Nathaniel Tarn's The Beautiful Contradictions Lydia Davis & Eliot Weinberger's Two American Scenes

Mexican poet, teacher and translator Coral Bracho was born in Mexico City in 1951. She has published several books, two in English thanks to the brilliant poet-translator Forrest Gander, who has put this composite volume together, the first time Bracho has been extensively published in the UK. An extensive selection from Bracho's earlier work, which 'altered the landscape of Mexican poetry' (World Literature Today), is accompanied by the entirety of her new book, of which Gander writes: 'Although composed of individual poems, It Must Be a Misunderstanding is really a deeply affecting book-length work whose force builds as the poems cycle through their sequences. The "plot" follows a general trajectory-from early to late Alzheimer's-with non-judgmental affection and compassionate watchfulness. We come to know an opinionated, demonstrative elderly woman whose resilience, in the face of her dehiscent memory, becomes most clear in her adaptive strategies. The poems involve us in the mind's bafflement and wonder, in its creative quick-change adjustments, and in the emotional drama that draws us across the widening linguistic gaps that reroute communication. Bracho's poems have philosophical and psychological underpinnings even when they are descriptive. Her work has always managed to mix abstraction and sensuality, but in this book the two merge into a particularly resonant combination. 'We are inside a mind, maybe many minds, considering a mystery with signal attentiveness, openness, and love.'

Started in 2009, IPNHK is one of the most influential international poetry events in Asia. In its ten-year anniversary in November 2019, 30 famous poets from various countries will be in Hong Kong and ten cities in China afterwards to read their works based on the theme “Speech and Silence.” Forrest Gander (USA) is a writer and translator with degrees in geology and English literature

Poetry. Edited and translated from the Spanish by Forrest Gander. The poets featured in this volume are Antonio Gamoneda, Olvido Garcia Valdes, Miguel Casado, Marcos Canteli, Sandra Santana, Benito del Pliego, Julia Piera, Ana Gorria, Pilar Fraile Amador, and Esther Ramon."This anthology charts some of my own enthusiasms; it isn't a comprehensive list. It seems more significant to represent ten substantial writers with a generous selection of poems than thirty or forty writers with one or two poems apiece. The ten poets collected here represent one of many possible configurations of an exploratory surge that signals a moment of change in Spain's literature."--Forrest Gander, from the Translator's Note

The second set of New Directions Poetry Pamphlet series, which includes Vale Ave by H. D.; Eiko & Koma by Forrest Gander; A Musical Hell by Alejandra Pizarnik; The Beautiful Contradictions by Nathaniel Tarn.

Poetry. East Asia Studies. Bilingual Edition. Translated from the Japanese by Kyoko Yoshida and Forrest Gander. If you think of haiku when you think of Japanese poetry, this book will be a huge surprise. The strange and wild poems of Kiwao Nomura deal with sex and loss and memory by making unpredictable leaps of association. Imagine Fugazi singing philosophy and you get close. Inspired by shamanism, Kiwao Nomura sounds like nothing you've ever heard before and like something you want to hear over and over. He is one of the two or three of the most influential living Japanese poets, and his work will be as stunningly original and compelling to contemporary Americans as haiku was to the late Victorians. Anyone interested in making contact with Japanese culture will want to read SPECTACLE & PIGSTY.

Drawing on four decades of work and including new poems published here for the first time, this selection of Mei-mei Berssenbrugge's poetry displays the extraordinary luminosity characteristic of her style - its delicate, meticulous observation, great scenic imagination, and unusual degree of comfort with states of indetermination, contingency, and flux.

In his third book of poems, Mark Levine continues his exploration of the rhythms and forms of memory. "The Wilds" is set in the border regions between natural and cultivated states, childhood and adulthood, past and present. "We were boys," says the speaker of the opening poem, "boyish, almost girls. Left alone on the roof, we would have dwindled." Austere and lyrical, the music of these poems resonates with echoes of poetic tradition-Wyatt, Jonson, Milton, Eliot-yet is singularly modern.

In his new collection Torn Awake, Gander continues to blend passion with intelligence, unveiling the forces of physical nature and personhood, the self as a construction of reciprocally reflective relations. Proposing models of hybridity, each of the book's major sequences develops a unique subject, rhythm, and form. Bringing to light the molten potential at the core of personality, the poems illuminate ways that language, as history read by anthropologists, discourse between lovers, gestures between parent and child, graffiti in temples, or even language as an event in itself (the very experience of words at play), incarnates presence. Addressing father and son relationships, and venerating erotic love, Gander's poems surge with vitality: the energy of active discovery.

The author's training as a geologist influences the themes and forms of the poems and the single essay in this book. Often his poetic forms are determined by rock characteristics, even when the concerns of the poem are intensely human. For instance, a poem about a set of perceived relationships at twilight from the Crystal section titled "yellow quartz" breaks into six lines and references the passage of light because quartz crystals are pellucid and hexagonal. In another sequence, "Line of Descent," sharply shifting lines of poetry enact the cutbacks and bends of the path into the Grand Canyon by which father and son descend through lines of sediment and lines of story along the bloodline that ties them together. Without calling attention to themselves, such forms underpin the strong emotional terrain upon which all the poems, whether focused on erotic love, fatherhood, the histories of empire, or the dialogue between scientific rationalism and poetic imagination, are situated. With an eye toward what we stand on literally, Gander concentrates our attention toward what we stand on and for in our various relationships with others and with the world

"Immanent Visitor "is the first English-language translation of the work of Bolivia's greatest and most visionary twentieth-century poet. A "poete maudit, "Jaime Saenz rejected the conventions of polite society and became a monk in service of his own imagination. Apocalyptic and occult in his politics, a denizen of slum taverns, unashamedly bisexual, insistently nocturnal in his artistic affairs, and secretive in his leadership of a select group of writers, Saenz mixed the mystical and baroque with the fantastic, the psychological, and the symbolic. In masterly translations by two poet-translators, Kent Johnson and Forrest Gander, Saenz's strange, innovative, and wildly lyrical poems reveal a literary legacy of fierce compassion and solidarity with indigenous Bolivian cultures and with the destitute, the desperate, and the disenfranchised of that unreal city, La Paz.
In long lines, in odes that name desire, with Whitmanesque anaphora, in exclamations and repetitions, Saenz addresses the reader, the beloved, and death in one extended lyrical gesture. The poems are brazenly affecting. Their semantic innovation is notable in the odd heterogeneity of formal and tonal structures that careen unabashedly between modes and moods; now archly lyrical, now arcanely symbolic, now colloquial, now trancelike. As Saenz's reputation continues to grow throughout the world, these inspired translations and the accompanying Spanish texts faithfully convey the poet's unique vision and voice to English-speaking readers.

A haunting and peculiar travelogue, Deeds of the Utmost Kindness employs forms as diverse as haiku and prose poetry in settings that range from Japan to the rural Ozarks to contemporary Moscow. The compelling strangeness of the poems' precise details exposes varied rhythms of thought and illustrated how different logics work in the metaphoric structures of changing places . Yet behind the uneasy sense of dislocation felt by the constant traveler lies the personal, essentially moral, voice of the poet as observer.

A wide-ranging consideration of water's plenitude and paucity-and of our relationship to its many forms Water is quotidian, ubiquitous, precious, and precarious. With their roots in this element, the authors of Water's Edge reflect on our natural environment: its forms, textures, and stewardship. Born from a colloquium organized by the editors at the Institute at Brown for Environment and Society, the anthology features a diverse group of writers and artists from half a dozen countries, from different fields of scholarship and practice: artists, biologists, geologists, poets, ecocritics, actors, and anthropologists. The contributors explore and celebrate water while reflecting on its disturbances and pollution, and their texts and art play with the boundaries by which we differentiate literary forms. In the creative nonfiction, poetry, and visual art collected here, water moves from backdrop to subject. Ashley Dawson examines the effects of industrial farming on the health of local ecosystems and economies. Painter Kulvinder Kaur Dhew captures water's brilliance and multifaceted reflections through a series of charcoal pieces that interlace the collection. Poet Arthur Sze describes the responsibility involved in the careful management of irrigation ditches in New Mexico. Rather than concentrating their thoughts into a singular, overwhelming argument, the authors circulate moments of apprehension, intimation, and felt experience. They are like tributaries, each carrying, in a distinctive style, exigent and often intimate reports concerning a substance upon which all living organisms depend. Contributions by Coral Bracho, Akiko Busch, Ashley Dawson, Kulvinder Kaur Dhew, Brenda Hillman, Maya Khosla, Will McGrath, Jose-Luis Moctezuma, Zoe Nyssa, Ailsa Piper, Elizabeth Rush, Cole Swensen, Arthur Sze, Wendy Woodson, Atul Bhalla, Samuel Gregoire and Colin Channer.

The damage humans have perpetrated on our environment has certainly affected a poet's means and material. But can poetry be ecological? Can it display or be invested with values that acknowledge the economy of interrelationship between the human and the nonhuman realms? Aside from issues of theme and reference, how might syntax, line break, or the shape of the poem on the page express an ecological ethics? To answer these questions, poets Forrest Gander and John Kinsella offer an experiment, a collaborative volume of prose and poetry that investigates-both thematically and formally-the relationship between nature and culture, language and perception. They ask whether, in an age of globalization, industrialization, and rapid human population growth, an ethnocentric view of human beings as a species independent from others underpins our exploitation of natural resources. Does the disease of Western subjectivity constitute an element of the aesthetics that undermine poetic resistance to the killing of the land? Why does "the land" have to give something back to the writer? This innovative volume speaks to all people wanting to understand how artistic and critical endeavours can enrich, rather than impoverish, the imperilled world around us.