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.

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.

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.

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.

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."