Rediscover Joyce Mansour, the most significant Surrealist poet to emerge from 1950s Paris. “You know very well, Joyce, that you are for me—and very objectively too—the greatest poet of our time. Surrealist poetry, that’s you.�—André Breton  Joyce Mansour was a Syrian Jewish exile from Egypt whose fierce, macabre, erotically charged works gave André Breton’s Surrealist group a much-needed jolt after the ravages of the Second World War. Among new adherents, only Mansour wrote poems commensurate with those of Robert Desnos, René Char, Benjamin Pêret, and other poets from the movement’s heyday.  Emerald Wounds: Selected Poems by Joyce Mansour is a compact yet career-spanning, bilingual anthology of this incendiary poet. With a biographical introduction by translator Emilie Moorhouse, who was drawn to Mansour's tough, take-no-prisoners stance during the societal reckoning of the #MeToo movement, Emerald Wounds showcases the entire arc of her trajectory as a poet, from the at-once gothic and minimalist fragments of her first collection in 1953, Screams, to the serpentine power of her final poems of the 1980s. Juxtaposing the original French poems with their English translations, Mansour’s voice surges forward uncensored and raw, communicating the frustrations, anger, and sadness of an intelligent, worldly woman who defies the constraints and oppression of a male-dominated society that sees women as superficial objects of desire rather than multidimensional, autonomous subjects. Mansour is a poet the world needs today.

Clark Coolidge’s book-length meditation on a crystal—long considered a masterpiece of American avant-garde poetry—returns in a new edition. “No other poet ever has so exquisitely, and sometimes also turbulently, written sheer sonic wonder into poetry.�—Lyn Hejinian, author of My Life and My Life in the Nineties In the summer of 1982, Clark Coolidge received an unexpected gift of a crystal; small, clear, entirely unexceptional, the crystal nonetheless provoked the poet into writing what has long been considered his masterpiece, The Crystal Text (1986). A durational poem composed over the course of 10 months, in daybook-like entries of varying length, The Crystal Text is multifaceted and elusive, constantly interrogating itself. Is it a meditation on its titular object like Keats’s “Urn� or a radical investigation of the limits of language as a signifying system? Is the poet channeling the crystal to access its message or is the crystal channeling the poet, drawing language from him to fill its colorless emptiness? Is it dictation or improvisation? Is the poem a record of its own crystalline growth or does it capture the process of consciousness itself?  The Crystal Text refuses to resolve the questions it raises but rather inhabits its various possibilities simultaneously, resulting in one of the major works of late 20th century American avant-garde poetry. This new edition includes a preface by poet and scholar Peter Gizzi and an afterword in which Coolidge discusses the text with poet Jason Morris and City Lights editor Garrett Caples.  Associated with the New York School and subsequently inspiring the Language Poets, Coolidge remains one of the most singular and original American poets of our time.

In Lovers of Today, Garrett Caples is his most playful and heartfelt. Here are poems that generously place the reader in a particular poetic moment that is both elegiac and also wildly entertaining. Taken from a bar of the same name in New York City, Lovers of Today is a collection of poetry that pays tribute to friendships including Kevin Killian, John Ashbery, Joanne Kyger, and Bill Berkson, among others, wherein each poem is a celebration of life's ephemerality.

The "Collected Poems of Philip Lamantia" represents the lifework of the most visionary poet of the American postwar generation. Philip Lamantia (1927-2005) played a major role in shaping the poetics of both the Beat and the Surrealist movements in the United States. First mentored by the San Francisco poet Kenneth Rexroth, the teenage Lamantia also came to the attention of the French Surrealist leader Andre Breton, who, after reading Lamantia's youthful work, hailed him as a "voice that rises once in a hundred years." Later, Lamantia went "on the road" with Jack Kerouac and shared the stage with Allen Ginsberg at the famous Six Gallery reading in San Francisco, where Ginsburg first read "Howl." Throughout his life, Lamantia sought to extend and renew the visionary tradition of Romanticism in a distinctly American vernacular, drawing on mystical lore and drug experience in the process. The "Collected Poems" gathers not only his published work but also an extensive selection of unpublished or uncollected work; the editors have also provided a biographical introduction.

The Collected Poems of Philip Lamantia represents the lifework of the most visionary poet of the American postwar generation. Philip Lamantia (1927-2005) played a major role in shaping the poetics of both the Beat and the Surrealist movements in the United States. First mentored by the San Francisco poet Kenneth Rexroth, the teenage Lamantia also came to the attention of the French Surrealist leader Andre Breton, who, after reading Lamantia's youthful work, hailed him as a "voice that rises once in a hundred years." Later, Lamantia went "on the road" with Jack Kerouac and shared the stage with Allen Ginsberg at the famous Six Gallery reading in San Francisco, where Ginsburg first read "Howl." Throughout his life, Lamantia sought to extend and renew the visionary tradition of Romanticism in a distinctly American vernacular, drawing on mystical lore and drug experience in the process. The Collected Poems gathers not only his published work but also an extensive selection of unpublished or uncollected work; the editors have also provided a biographical introduction.

The last living member of the original circle of Anarcho-pacifist poets at the birth of the San Francisco Renaissance, Richard O. Moore presents his second book, Particulars of Place. The title poem is a meditation on life in the twilight of American Empire, posing the question of how to live in an age of endless warfare. Throughout, Moore's commitment to social justice mingles with his interest in Wittgenstein's linguistic philosophy, resulting in a poetic amalgam unique to Moore himself. Reflecting a lifetime of devotion to the art of poetry, Particulars of Place confirms Moore's paradoxical position as a newly emerging old master.

A power ballad was a hair metal band's voyage into the softer side of rock, compromising to the integrity of the genre, but genuine and trailblazing. So too is Caples' Power Ballads. His poems and prose pieces are bizarre and hilarious, in which Dylan and Bowie sit alongside the French surrealists, with the occasional turn into heartfelt romanticism.

In Lovers of Today, Garrett Caples is his most playful and heartfelt. Here are poems that generously place the reader in a particular poetic moment that is both elegiac and also wildly entertaining. Taken from a bar of the same name in New York City, Lovers of Today is a collection of poetry that pays tribute to friendships including Kevin Killian, John Ashbery, Joanne Kyger, and Bill Berkson, among others, wherein each poem is a celebration of life's ephemerality.

Poetry. Question: When is a poet's first book a reader? Answer: When you're Garrett Caples, whose poetic persona is often-perverse, decidedly-decisive, randomly-rule-breaking and impoetically-casual. Yet, through it all, the reader experiences the pleasures and charms of reading a forbidden journal, written by a smart young writer. "Caples is part of a younger generation of writers reinvigorating contemporary poetry by combining modernist and Language-poetic verbal angularity with the sheer enthusiasm and lustiness of adolescence"--Publishers Weekly.

"Who was Samuel Greenberg?" editor Garrett Caples asks: "The short answer is 'the dead, unknown poet Hart Crane plagiarized.'" In the winter of 1923, Crane was given some of Greenberg's notebooks and called him "a Rimbaud in embryo." Crane included many of Greenberg's lines, uncredited and slightly changed, in his own poetry. Poems from the Greenberg Manuscripts was edited by James Laughlin, who first published it in 1939. As well as Laughlin's original essay, Caples includes a new selection of poems from Greenberg's notebooks, along with some of his prose. Now the work of this mysterious, impoverished, proto-surrealist American poet, who never published a word in his life, is available to a new generation of readers.