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 book presents a schoolwide model of instructional support designed to make the most of available time, resources, and personnel-one that is also fully compatible with other problem-solving models, such as response to intervention. The authors provide a comprehensive and cohesive framework for linking assessment and intervention. They show how to interweave evidence-based instruction with targeted professional development and other components that support improved learning outcomes for all K-8 students. Helpful tables describe dozens of research-based assessments and interventions in reading, writing, and math. In a large-size format to facilitate photocopying, the volume includes more than 20 reproducible worksheets and forms. The companion website features additional reproducibles and supplemental materials for use in conjunction with the book. This book is in The Guilford Practical Intervention in the Schools Series, edited by Sandra M. Chafouleas.

"If, as it has been claimed, the satirist is a left-handed writer, the analogy seems made for Kent Johnson's inimitable, fearless and much needed contribution - the one-in-ten, or more like one-in-a-thousand corrective, antidote, ballast, counterpoint, to the worst excesses and insincerities of western poetry's decadence and pomposity. In Nuper Verba - the Latin title is apposite - he takes aim at poetry's postures of antagonism, even as it drains the last best wine and lounges on a mouldering couch of bursaries. Truth-sayer or holy fool, insider's outsider or witnessing spirit, the moral force of Johnson's project, as well as its sublime humour, shines like so many corroding rays, here reaching moments of unanticipated lyrical brightness. He's never been funnier or more strangely moving. Refusing consensus and mentioning the unmentionable remains the true poet's calling, and Johnson's poetry reminds us of this, with the beautiful sobering chill of genuine veracity." -Sam Riviere "The writings of Kent Johnson over the years have given us an outsized sense of disquiet and mockery, as he revives and transforms the ancient art of satire, bringing it laughing and raging into a new century and millennium. The great pleasure in Nuper Verba is, then, the comic fury he gives to poems that aim at the literary present, while aware of a range of poets and literary pretenders from ancient Rome to contemporary USAmerica and elsewhere. The words and thoughts that Johnson gives to Horace in "translation" are directed simultaneously and sometimes outrageously to the poets and poetry wars of our time. An adjustment well worth making." -Jerome Rothenberg "Read super-duper Kent Johnson's Nuper Verba for its heroic troubles and foibles, its fabulist fables. Or for the pleasure of its deft ear. Or because it's hard to tell its lies from truths, which is unnerving - poetry doing its job. Read Nuper Verba for its fury tempered by love, its gloom by wit, its grief by mirth, its erudite suavity by a vulnerability both shy and sly. Read it for its crudeness tempered by the delicacy of a seven-foot moose outside Perry's Nut House, and for its wickedness, tenderness, beauty without warning." - Billie Chernicoff "Read super-duper Kent Johnson's Nuper Verba for its heroic troubles and foibles, its fabulist fables. Or for the pleasure of its deft ear. Or because it's hard to tell its lies from truths, which is unnerving - poetry doing its job. Read Nuper Verba for its fury tempered by love, its gloom by wit, its grief by mirth, its erudite suavity by a vulnerability both shy and sly. Read it for its crudeness tempered by the delicacy of a seven-foot moose outside Perry's Nut House, and for its wickedness, tenderness, beauty without warning." -Billie Chernicoff "Using in-jokes, old arguments and absurdities, Kent Johnson satirizes the 'ruthless kid-poets with their little cymbals and bells.' Yet satire's bleak irreverence is also a kind of intimacy: we can't mock what we don't know well. More earnestly, Nuper Verba urges us to 'make lasting song of our loss, /That it may rise above the shallow attentions of our clan.' Pay attention, then, to these poems. Say poetry is a haunted mansion or a freakish funhouse. There, a hall of mirrors ceases to reflect the tiresome egoism of poetry culture and instead offers 'endless selves receding, tinier and tinier, until' one can no longer see oneself. We knew we were there, far back, but we were also gone. That, Johnson shows us, is where poetry truly has the last word." -Elizabeth Robinson "Kent Johnson is notorious for his mordant wit and tenacious satire, turned, more often than not, on the contemporary poetry scene. In the past, his ironic stance has been a massive, defensive engine against the crass, the venal, the insufferably narcissistic. Now, in Nuper Verba, wit and satire are subsumed, having become a given, and a new horizon opens before us. What Yeats, translating Swift's epitaph, calls 'savage indignation' is still there, but, especially in the magnificent Horatian Odes, a passionate honesty and vulnerability emerge to complement the intelligence of Johnson's provocations. There has been nothing like them since Pound's 'Homage to Sextus Propertius'. This is a gorgeous, heartbreaking book." -Norman Finkelstein "As a poet, I do and do not know why anyone would take up the vocation today, especially when just being human is considered by many to be despicable in itself. But I don't know. When I read Kent's work, I want to believe in the authority of poetry again. I know that it still exists, right here, with me and others, outside of the bullshit, outside of the Poetry Foundation, out of reach of all those so-called poet laureates out there, outside of the institutions vying for power, outside of the popular poets dying for even more attention, leaving their cheap verses all over the internet like trending memes. The thought that poetry might not exist without all of these contentions and contradictions, though, really troubles my sleep. But then this makes me think I know what it is that Kent's work does; it acknowledges a mystery. Maybe the only mystery: that Poetry could be writing all of us into existence, orchestrating this whole realm with authority built on ephemerality and balance, like some invisible but compassionate network of Chaos. Again, I don't know. Read Nuper Verba because you don't really have a choice." -Carlos Lara "In the central sequence of Nuper Verba, fifteen 'Horatian Odes,' satirist, analyst, and sometimes starter of poetry wars Kent Johnson returns to one of the origins of Western lyric in lines by turn barbed, laugh-out-loud, and delicately touching. Transformed ('transcreated' or 'translucinated' in Johnson's own terms) from their Latin originals and prior English translations, these poems often express 'in my last days' the opposite of the satirist's desire: 'I want to be dulcis and not acidus, believe me.' For all their self-reflexive layering, their comic allusiveness, their unremitting takedowns of poetic careerism meeting Horace's own self-ironizing aspirations to poetic immortality, these are also autobiographical poems about Johnson's own life, career, and political and intellectual commitments. Tutelary spirits like Edward Dorn-perhaps the chemo-ridden satirist of Chemo Sabe-appear in Johnson's ode to satyr-ists, as irony and energetic vitriol is clamped and silenced in the Scold's Bridle: 'stammer, satire, your pitiful last...' And yet the familiar impulse remains: 'Yes, tell me I am among the / Poets'-that itch, somewhere between impulse and deep conviction against all the odds, that runs from Horace to the Williams of 'The Desert Music' to 'Kentuvius Maximus in his / Big house.' Here 'my heart belongs to ... a torn, Janus-faced god' both of scorching satire and lyric poignancy, of public vituperation and private loss in 'this arbor's darkening shade'." -Alan Golding "Detained in his wound, everything becomes observable. The aching cave forever open. He blesses us in the evenings and frightens us in the mornings. No bridges to burn. He is the warning that is spoken of." -MTC Cronin

Cotton presents rooms that mix historical and modern influences, resulting in luxuriously sleek interiors for casual, yet sophisticated, living. The glam-orous spaces many designed for art-world clients, including Cindy Sherman and Lisa Yuskavage are anchored in tradition but reflect the relaxed sensibili-ties of our time. Cotton shares his multiscaled approach to design successful turns with his varied collections, which are often included in his interior projects. Furniture, lighting, wallpaper, tableware, and terra-cotta planters are part of his repertoire. Cotton s industrial designs like his interiors embody an intelligence and under-standing of design history. This book, the designer s first, documents the groundbreaking work of a rising and notable talent and should be in the libraries of designers and connoisseurs of fine living.

Successful implementation of response to intervention (RTI) for academic skills problems requires rigorous progress monitoring. This book shows how the proven instructional technology known as precision teaching (PT) can facilitate progress monitoring while building K-12 students' fluency in reading, writing, math, and the content areas. Detailed instructions help general and special education teachers use PT to target specific skills at all three tiers of RTI, and incorporate it into project-based learning. Of crucial importance for RTI implementers, the book provides explicit procedures for measuring and charting learning outcomes during each PT session, and using the data to fine-tune instruction. Reproducible charts and other useful tools can be downloaded and printed in a convenient 8 1/2" x 11" size.

Poetry. Latino/Latina Studies. Bilingual Edition. Edited by Kent Johnson and Roberto Echavarren. Named in homage to Isidore Ducasse, the Uruguayan-French poet who wrote Maldoror under the name Comte de Lautreamont, and with a knowing nod to John Ashbery's book of the same title, this is the first major English-language survey of contemporary Uruguayan poetry for some 40 years, and features the work of Roberto Appratto, Nancy Bacelo, Amanda Berenguer, Selva Casal, Marosa Di Giorgio, Roberto Echavarren, Eduardo Espina, Gustavo Espinosa, Silvia Guerra, Circe Maia, Eduardo Milan and Idea Vilarino. The translators are Roman Antopolsky, Daniel Borzutzky, Gillian Brassil, Susan Briante, Mary Crow, Ryan Daley, Monica de la Torre, Anna Deeny, Kristin Dykstra, Michelle Gil-Montero, Charles Hatfield, Laura Healy, Farid Matuk, John Oliver Simon, Jeannine Pitas and Alex Verdolini. Hotel Lautr amont: Contemporary Poetry from Uruguay Hotel Lautreamont: Contemporary Poetry from Uruguay"

Poetry. HOMAGE TO THE LAST AVANT-GARDE contains a wide variety of poems and prose, representing all strands of Johnson's work: versions from the Greek, traduced to an extraordinary degree; anti-war poems, overflowing with rage; stink-bombs tossed in the direction of some famous poets, mostly meant in an ironic, joshing way. But not all. And then there are memoir poems of persons met and places visited, that may well be documentary in nature, or may also be artfully disguised. Memory is, after all, an awkward thing, and not to be trusted, just as politicians and their henchmen are not and there is no irony in their treatment in this book. No, sir, none at all. "Best known for the Araki Yasusada incident, Kent Johnson is a deadly serious, brilliant subversive. His brand of fiction is derived from the fabulist Borges, Michaux, and magic realism, but with a slightly nasty edge. 'I am in awe of you, ' I emailed him recently and meant it ..."--Linh Dinh

"Beneath a Single Moon "is an extraordinary collection of the work of forty-five contemporary American poets--with over 250 poems and thirty essays on the influence of spiritual practice on the practice of poetry. Included are works by John Cage, Diane di Prima, Allen Ginsberg, Jane Hirshfield, Andrew Schelling, Gary Snyder, Anne Waldman, and others.

The provocative position of Kent Johnson in American poetry over the past two decades—as both its foremost gadfly and its anti-institutional conscience—is unequalled. Admired and abhorred in like measures, he is the author, translator, or editor of more than thirty titles of poetry, criticism, nonfiction, and metafiction. This collection represents a follow-up to his widely reviewed 2008 classic from Shearsman, Homage to the Last Avant-Garde. He has recently retired, after many years of teaching English and Spanish. In 2004, he was named State Teacher of the Year by the Illinois Community College Board of Trustees. From 2016 to 2020, with Michael Boughn, he oversaw the highly controversial Dispatches from the Poetry Wars. "Offense given; offense taken. Betrayals remembered and the betrayers unforgiven. Kent Johnson's mordant poems burn away the scrimshaw, the lace-making, the dreck that passes for poetry today, exposing the hypocrisy of our official poetry culture where a cadre of pampered bourgeoisie imagine themselves enlightened revolutionaries, and the poetics of the avant-garde has congealed into a set of implicit rules more formulaic than the traditions it seeks to supplant. A book like this is rare and necessary in every age. Let the refiner's fire break forth, lest universal darkness bury all." -James Chapson (Poet Laureate of Milwaukee) "Kent Johnson is an avant-garde poet without an avant-garde.... [He is] an antidote to the sentimental courtesies and complacencies that prevent a conversation about what and where poetry might be from soon beginning." -Keith Tuma (Chicago Review) "[Kent] Johnson's poems are like unchained pit bulls tossed into a school yard - somebody is going to get bit. But you almost have to admire all that taut muscle & those unstoppable jaws." -Ron Silliman (Silliman's Blog, 2/15/2006) "A poetry embroiled with poetry. Poetry pitched into the flames of its fractious lineage, presented as a colloquy of voices-most of which never queue you; they're all so perfervid to have their say. A signature convention pinched from one poet or another is catalyst enough for Johnson's ventriloquy to toggle between papyrus and blogosphere, homage and invective. Farcical, sprawling, lyrical, smashed, shimmering, and without mercy." -C.D. Wright (on Homage to the Last Avant-Garde, Shearsman, 2008)

"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.

Not far from Milan, in the hills of the northern Italian countryside, lies the estate of famed Italian artist Enrico Baj. This jewel of a book offers a unique lens through which to consider a true artistic giant of the late twentieth century associated with Dada, Surrealism, Art Informel, and CoBrA, as well as Nuclear Art, a movement he cofounded. Organized as a tour of the artist s home, from full rooms designed with a great attention to detail to entire walls covered floor to ceiling with paintings by the artist to a headboard carved directly into a wall, almost every surface of the house is covered in work made by Baj himself. While his subject matter may have been deeply serious (many of Baj s works reveal an obsession with nuclear war and the abuse of political power), as this book shows, his work was always playful and vibrant, often incorporating bits of found materials like military medals, seashells, rope, and twine. Whether one focuses on the luxurious trim and tassel of a bedroom curtain or the deeply personal arrangement of treasured sculptures on a dressing room table, every corner of the estate is energized by the element of surprise. This book showcases the artist s individual touch and provides a wealth of playful vignettes to inspire homeowners, collectors, and artists alike.

Successful implementation of response to intervention (RTI) for academic skills problems requires rigorous progress monitoring. This book shows how the proven instructional technology known as precision teaching (PT) can facilitate progress monitoring while building K-12 students' fluency in reading, writing, math, and the content areas. Detailed instructions help general and special education teachers use PT to target specific skills at all three tiers of RTI, and incorporate it into project-based learning. Of crucial importance for RTI implementers, the book provides explicit procedures for measuring and charting learning outcomes during each PT session, and using the data to fine-tune instruction. Reproducible charts and other useful tools can be downloaded and printed in a convenient 8 1/2" x 11" size.