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The Crystal Text
Clark Coolidge; Preface by Peter Gizzi; Afterword by Jason Morris, Garrett Caples
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R373
Discovery Miles 3 730
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Ships in 12 - 17 working days
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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.
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.
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.
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Particulars of Place (Paperback)
Richard O. Moore; Edited by Garrett Caples, Brenda Hillman, Paul Ebenkamp
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R442
Discovery Miles 4 420
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Ships in 12 - 17 working days
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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.
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