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Gathered from over thirty years of work, the poems in this generous
selection strike a dynamic balance of honesty, emotion,
intellectual depth and otherworldly resonance - in Gizzi's work,
poetry itself becomes a primary ground of human experience.
Haunted, vibrant and saturated with luminous detail, Gizzi enlists
the American vernacular in a magical and complex music. Sky Burial
is an immensely valuable introduction to his work.
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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.â€â€”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.
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After Lorca (Paperback)
Jack Spicer, Peter Gizzi
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R372
R301
Discovery Miles 3 010
Save R71 (19%)
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Ships in 10 - 15 working days
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Fierce Elegy
Peter Gizzi
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R358
Discovery Miles 3 580
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Ships in 12 - 17 working days
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Peter Gizzi's powerful new collection reminds us that the elegy is
lament but also - as it has been for centuries - a work of love In
Peter Gizzi's powerful new collection, we find, in the poet's
words, that "the elegy is a mode that can transform a broken heart
in a fierce world into a fierce heart in a broken world." For
Gizzi, ferocity can be reimagined as vulnerability, bravery and
discovery, a braiding of emotional and otherworldly depth, "a
holding open." In Gizzi's voice joy and sorrow make a complex
ecosystem. One of our foremost practitioners of the lyric, Gizzi
here extends his mastery of the form. In their quest for a lyric
reality, these poems remind us that elegy is lament but also - as
it has been for centuries - a mode of love poetry as well. "This
new poetry," Kamau Brathwaite has written about Gizzi, "taking such
care of temperature - the time & details of the world - meaning
the space(s) in which we live - defining love in this way. Writing
along the edge. A way of writing about hope." [sample poem] Creely
Song all that is lovely in words, even if gone to pieces all that
is lovely gone, all of it for love and autobiography as if I were
writing this hello, listen the plan is the body and all of it for
love now in pieces all that is lovely echoes still in life &
death still memory gardens open onto windows lovely, the charm that
mirrors all that was, all that is, lovely in a song
SOME JOY FOR MORNING Now the connection with spring has dissolved.
Now that hysteria is blooming. Says every day I want to fly my
kite. Says what's a grammar when you is no longer you. My world is
hydrogen burning in space and in the fullness of etc. I have read
the news and learned nothing. I try to understand the whooshing
overhead. But for a little light now. I didn't realize the tree was
weeping. How was I to know I am not alone. Wild light. The poems in
this brilliant follow-up to the National Book Award finalist
Archeophonics, are concerned with grieving, with poetry and death,
with beauty and sadness, with light. As Ben Lerner has written,
"Gizzi's poetry is an example of how a poet's total tonal attention
can disclose new orders of sensation and meaning. His beautiful
lines are full of deft archival allusion." With litany, elegy, and
prose, Gizzi continues his pursuit toward a lyric of reality.
Saturated with luminous detail, these original poems possess, even
in their sorrowing moments, a dizzying freedom.
SOME JOY FOR MORNING Now the connection with spring has dissolved.
Now that hysteria is blooming. Says every day I want to fly my
kite. Says what's a grammar when you is no longer you. My world is
hydrogen burning in space and in the fullness of etc. I have read
the news and learned nothing. I try to understand the whooshing
overhead. But for a little light now. I didn't realize the tree was
weeping. How was I to know I am not alone. Wild light. The poems in
this brilliant follow-up to the National Book Award finalist
Archeophonics, are concerned with grieving, with poetry and death,
with beauty and sadness, with light. As Ben Lerner has written,
"Gizzi's poetry is an example of how a poet's total tonal attention
can disclose new orders of sensation and meaning. His beautiful
lines are full of deft archival allusion." With litany, elegy, and
prose, Gizzi continues his pursuit toward a lyric of reality.
Saturated with luminous detail, these original poems possess, even
in their sorrowing moments, a dizzying freedom.
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Fierce Elegy
Peter Gizzi
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R679
R551
Discovery Miles 5 510
Save R128 (19%)
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Ships in 10 - 15 working days
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Peter Gizzi's powerful new collection reminds us that the elegy is
lament but also - as it has been for centuries - a work of love In
Peter Gizzi's powerful new collection, we find, in the poet's
words, that "the elegy is a mode that can transform a broken heart
in a fierce world into a fierce heart in a broken world." For
Gizzi, ferocity can be reimagined as vulnerability, bravery and
discovery, a braiding of emotional and otherworldly depth, "a
holding open." In Gizzi's voice joy and sorrow make a complex
ecosystem. One of our foremost practitioners of the lyric, Gizzi
here extends his mastery of the form. In their quest for a lyric
reality, these poems remind us that elegy is lament but also - as
it has been for centuries - a mode of love poetry as well. "This
new poetry," Kamau Brathwaite has written about Gizzi, "taking such
care of temperature - the time & details of the world - meaning
the space(s) in which we live - defining love in this way. Writing
along the edge. A way of writing about hope." [sample poem] Creely
Song all that is lovely in words, even if gone to pieces all that
is lovely gone, all of it for love and autobiography as if I were
writing this hello, listen the plan is the body and all of it for
love now in pieces all that is lovely echoes still in life &
death still memory gardens open onto windows lovely, the charm that
mirrors all that was, all that is, lovely in a song
One of the most notable members of the New York School—and its
best-known woman—Barbara Guest began writing poetry in the 1950s
in company that included John Ashbery, Kenneth Koch, Frank
O’Hara, and James Schuyler. And from the beginning, her practice
placed her at the vanguard of American writing. Guest’s poetry,
saturated in the visual arts, extended the formal experiments of
modernism, and played the abstract qualities of language against
its sensuousness and materiality. Now, for the first time, all of
her published poems have been brought together in one volume,
offering readers and scholars unprecedented access to Guest’s
remarkable visionary work. This Collected Poems moves from her
early New York School years through her more abstract later work,
including some final poems never before published. Switching
effortlessly from the real to the dreamlike, the observed to the
imagined, this is poetry both gentle and piercing—seemingly
simple, but truly and beautifully dislocating.
S., another persona invented by artist and writer Robert Seydel,
was a recluse who kept a great library which he suddenly abandoned
along with a manuscript of poems and a slim stack of drawings.
These poems--hypnotic, distilled, obsessive and playful--are
written by Seydel as S., whom he devises as a naif, suffering bouts
of madness and apophenia. Seydel described S. in his notebooks as
"a small ghost who lived alone in an apartment in a house in
Amherst, on a gray street and around the corner from Emily
Dickinson's manse on Main Street. He wrote prolifically--these
small songs & in a journal & drew as well, small strange
drawings of heads like hillocks that stare out from the small
valleys of the Holyoke." Siglio and Ugly Duckling Presse have
collaborated to publish the complete cycle of poems along with a
full-color 32-page booklet entitled "Maybe S." that reproduces the
drawings made by S. as well as handwritten excerpts from Seydel's
notebooks that reveal the creation and revisions of this persona
and the mysterious, permeable universe to which he belongs.
Since his celebrated first book of poetry, Peter Gizzi has been
hailed as one of the most significant and distinctive voices
writing today. Gathered from over five collections, and
representing close to twenty-five years of work, the poems in this
generous selection strike a dynamic balance of honesty, emotion,
intellectual depth and otherworldly resonance - in Gizzi's work,
poetry itself becomes a primary ground of human experience.
Haunted, vibrant, and saturated with luminous detail, Gizzi's
poetry enlists the American vernacular in a magical and complex
music. In Defense of Nothing is an immensely valuable introduction
to the work of this extraordinary and singular poet. Check for the
online reader's companion at http://petergizzi.site.weleyan.edu.
Periplum and other poems brings together Peter Gizzi's celebrated
and influential first book, out of print for nearly a decade, with
60 pages of early and uncollected work, including the long poem
"Music for Films." This new edition functions as a collected poems
of Gizzi's work from 1987 to 1992. John Ashbery hailed Gizzi as
"the most exciting poet to come along in quite a while." The
vibrancy and immediacy of Gizzi's poems constitute 21st-century
lyricism at its best, a richly complex music engaged with the
crucial questions of and around contemporary culture. Michael
Boughn wrote in the Poetry Project Newsletter that "Periplum
reveals and shatters an unspeakably fragile world ... emerging with
a new knowing, a knowing that matters, as in matters of life and
death." His poems achieve a delicate balance of emotional and
intellectual richness and the sense of poetry itself as a primary
ground of human experience.
Archeophonics is the first collection of new work from the poet
Peter Gizzi in five years. Archeophonics, defined as the archeology
of lost sound, is one way of understanding the role and the task of
poetry: to recover the buried sounds and shapes of languages in the
tradition of the art, and the multitude of private connections that
lie undisclosed in one's emotional memory. The book takes seriously
the opening epigraph by the late great James Schuyler: "poetry,
like music, is not just song." It recognizes that the poem is not a
decorative art object but a means of organizing the world, in the
words of anthropologist Clifford Geertz, "into transient examples
of shaped behavior." Archeophonics is a series of discrete poems
that are linked by repeated phrases and words, and its themes and
nothing less than joy, outrage, loss, transhistorical thought, and
day-to-day life. It is a private book of public and civic concerns.
Archeophonics is the first collection of new work from the poet
Peter Gizzi in five years. Archeophonics, defined as the archeology
of lost sound, is one way of understanding the role and the task of
poetry: to recover the buried sounds and shapes of languages in the
tradition of the art, and the multitude of private connections that
lie undisclosed in one's emotional memory. The book takes seriously
the opening epigraph by the late great James Schuyler: "poetry,
like music, is not just song." It recognizes that the poem is not a
decorative art object but a means of organizing the world, in the
words of anthropologist Clifford Geertz, "into transient examples
of shaped behavior." Archeophonics is a series of discrete poems
that are linked by repeated phrases and words, and its themes and
nothing less than joy, outrage, loss, transhistorical thought, and
day-to-day life. It is a private book of public and civic concerns.
An online reading companion is available at
petergizzi.site.wesleyan.edu.
About Threshold Songs, the voices in these poems perform at the
interior thresholds encountered each day, where we negotiate the
unfathomable proximities of knowing and not knowing, the gulf of
seeing and feeling, the uncanny relation of grief to joy, and the
borderless nature of selfhood and tradition. Both conceptual and
haunted, these poems explore the asymmetry of the body's chemistry
and its effects on expression and form. The poems in Threshold
Songs tune us to the microtonal music of speaking and being spoken.
Check for the online reader's companion at http:
//thresholdsongs.site.wesleyan.edu.
About Threshold Songs, the voices in these poems perform at the
interior thresholds encountered each day, where we negotiate the
unfathomable proximities of knowing and not knowing, the gulf of
seeing and feeling, the uncanny relation of grief to joy, and the
borderless nature of selfhood and tradition. Both conceptual and
haunted, these poems explore the asymmetry of the body's chemistry
and its effects on expression and form. The poems in Threshold
Songs tune us to the microtonal music of speaking and being spoken.
Check for the online reader's companion at http:
//thresholdsongs.site.wesleyan.edu.
In 1965, when the poet Jack Spicer died at the age of forty, he
left behind a trunkful of papers and manuscripts and a few copies
of the seven small books he had seen to press. A West Coast poet,
his influence spanned the national literary scene of the 1950s and
'60s, though in many ways Spicer's innovative writing ran counter
to that of his contemporaries in the New York School and the West
Coast Beat movement. Now, more than forty years later, Spicer's
voice is more compelling, insistent, and timely than ever. During
his short but prolific life, Spicer troubled the concepts of
translation, voice, and the act of poetic composition itself. My
Vocabulary Did This to Me is a landmark publication of this
essential poet's life work, and includes poems that have become
increasingly hard to find and many published here for the first
time.
Peter Gizzi's powerful new collection fuses documentary truth with
imaginative force. The Outernationale locates us "just off the
grid," in an emotional and spiritual frontier, where reverie,
outrage, history, and vision merge. Thinking and feeling become one
in the urgent music of Gizzi's poems. Saturated with luminous
detail, these original poems possess, even in their sorrowing
moments, a dizzying freedom. This is both a poetry of conscience
and the embodiment of a genuinely poetic consciousness. Objects,
images, and their histories are caught here in their half-life,
their profoundly human after-life. Gizzi has written a brilliant
follow-up to Some Values of Landscape and Weather, a book hailed by
Robert Creeley as "a breakthrough book in every way: for reader,
for writer, and for the art."
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