Bøger udgivet af Spuyten Duyvil

"Anne Waldman notes on the art of poetry alongside pastel drawings by t thilleman"--

Mark Spitzer lived a life of monstrous passion, continuous inspiration, and constant fascination; but at 57 years, it wasn't long enough. He published nearly forty books: most about fish and the environment, plus novels, memoirs, literary translations, creative writing pedagogy, and, of course, poetry. He was a creative writing professor at Truman State University in Missouri and the University of Central Arkansas where he designed and founded the Arkansas Writers MFA Workshop. He also edited the legendary Toad Suck Review, which evolved into the poetry series Toad Suck Éditions. Having lived in the American North, South, Midwest, and West, and having traveled as much of the world as possible, he spent the coda of his most epic poem (his own damn life) loving family and friends in historic Hyde Park, New York.

...she shows him her birds, birds with bowl-like bodies. he can't believe that she made them with just a Swiss Army knife. and he laughs when she throws him that line from The Winter's Tale-Though I am not naturally honest, I am sometimes so by chance. he buys the birds, saves her life. The Singing Bowl is the story of Rob Morgan-sculptor, liar, Shakespeare lover. She runs away from home as a teen, winds up in Manhattan in nascent Soho and hits the big time only to find that the biggest challenge she faces is to sculpt herself.

Using "eye" instead of "I" is a way to hold the self loosely, to slip out of its insistence and let observations rise without, as Keats says, any irritable grasping. Bove writes with a quiet grace, whether he is speaking of childhood grief over a mother's drinking, or the sudden rapture of stepping out into the swirl of snow.

Patrick Pritchett's Gnostic Frequencies boldly and brilliantly takes up the Romantic quest to make an infinite Book. Just as Pritchett's previous volume Burn offered a visionary revision of the Joan of Arc legend, here the poet 'rewrites the myth' of the Archive as a self-renewing ruin of absolute meaning, 'a scripting of / impossible flowers.' In musical measures, Pritchett aligns ancient paradoxes of the inspirited Word with post-postmodern meditations on the virtual body. This new book stands as a major contribution to the tradition of American radical lyricism. Andrew Joron

Juana Culhane gathers together fictions inspired by her late husband, the artist Shamus Culhane. These fourteen stories chronicle their relationship of almost forty years while at the same time striving to 'lift the veil' surrounding intra-psychic conflict and aberration of meaning. Even if this can only occur through the wisdom of age (with its face of cracks and hollows) revelations need acceptance and reflection, too. Together with three other collections, this book dramatizes the inner and outer worlds of a Mayan-Irish-American woman, whose dangerously inquisitive nature lights our imagination by asking, simply, "why is this happening?"

Mickey seems to see and hear everything, revealing as he does, Michael Rumaker's amazing abilities as a novelist. Rumaker has a wonderful eye for realistic detail and an exceptional ear for dialogue. His ability to create realistic American characters living in 20th century America rivals any American novelist I have ever read. Pagan Days is one of the best novels I've read in a lifetime of reading. Michael Rumaker is a working-class Marcel Proust, a great novelist, inspired by memory to write this truly memorable novel. Anne Geismar Mickey's days as a "pagan" open his eyes to an almost mystical, but certainly aesthetic, view of the world where each experience, no matter how difficult or painful, offers him a vision that will carry him through life. Pagan Days enriches our literature, and reinforces that the avant-garde need not be unintelligible to communicate the complexity of being human. Rumaker's characters breathe like Rodin's figures-they are alive, real, sinewy, torn, ecstatic, and transformative. Jeffery Beam

Poetry. "Jade Sylvan's poems are ornaments to holidays that don't exist yet. Something with candles. Our firstinstinct is to treat them with extreme care, but not out of fragility, just the understanding that the sacred hasoccurred. Magic. Too much of the world fit into this small ritual"--Brian Ellis, author of Uncontrolled Experiments in Freedom.

Ed Sanders, Anne Waldman, Amiri Baraka, and others write in tribute to Sam Abrams, Poet and Teacher.

The literary dormitory at Moscow University becomes a kind of Russian Grand Hotel, serving the last supper of empire to a host of writers gathered from every corner of the continent, and beyond. Young poets from Vietnam, Mongolia, Yakutia, Uzbekistan, Russia, and Ukraine assemble to study, drink, frolic, and explore each other and the decaying city around them. When the supper turns into a bacchanal, who's surprised? "The empire betrayed its drunks. And thus doomed itself to disintegration." Part howl, part literary slapstick, part joyful dirge, charged with the brashness of youth, betraying the vision of the permanent outsider, Andrukhovych's novel suggests that literature really is news that stays news. Funny, buoyant, flamboyant, ground-breaking, and as revelatory today as when it was first published in Ukrainian, The Moscoviad remains a literary milestone. In spirit and intellectual brio Andrukhovych, whose irreverence makes Borat seem pious, is kin to the great Halldor Laxness and the venerable David Foster Wallace. --Askold Melnyczuk

For many years I have admired the restless and generously spirited poems of Andrew Kaufman. He really does go to both sides of the Niger--both literally and metaphorically. This is not only a splendid book but it's also splendid journey! Thomas Lux Kaufman accomplishes what few poets ever achieve - a travel and poetry book combined which is as earthy and spiritual as anything the renowned anthropologist, Levi-Straus could have written. This isn't an Americanized poetical version of Conrad's Heart of Darkness, but the real thing. Hal Sirowitz This is a complicated gesture, especially when expressed in the form of poetry, and it can only be accomplished by having a craftsman's ear for the turn of the line, a palpable generosity of spirit that understands the sameness of us all, and a regard for language that compels the poet to settle on nothing less than getting the words right. Andrew Kaufman understands these things and his poetry is therefore worthy of our attention and our praise. Bruce Weigl As in his earlier collection, Earth's Ends, Andrew Kaufman here takes the considerable risk of writing poems based on experiences sought, at least in part, for the purpose. They splendidly transcend reportage, largely because of Kaufman's deep knowledge of the craft. He allows traditional verse into the poems just long enough to establish the contrasting perceptions of order in the observer's mind and in the cultures observed. Thus he creates an exhilarating balance between the joys of discovery and the tragic limits of our understanding. Henry Taylor

Very few of these poems come to us with the demands of a determined art; rather, as in the first poems of Cavafy, the grace of Dean Kostos's texts (I would call it unconscious grace, for that is the adjective which permits all heaven as much as all hell to explode, to let fly) is the result of another effort, not even the effort to please, but merely-merely!-the will to tell the truth, to tell what happened, what didn't ... It is another version of art to which the poet trusts himself, call it the grace of nature which invites the reader to return, to read again until he has made the poem an experience of his own. That is what happens here, the reader returns until he owns the poems. Or do the poems own him? Richard Howard

Martin Nakell's new fiction releases our understanding of the novel form as well as the form of cities and collective imagination into a kaleidoscope of responsibility. We who are hard pressed to re-evaluate our works and lives will thank Mr. Nakell for so aptly preparing the way.

Rob Cook can be as unerring as a dream in fitting an image to the mood he wants to convey. His subconscious seems to be guiding him, but he is taking us through the real world and not a construct of fantasy. There is more than the title to make a reader nervous in Blueprints for a Genocide, although the simple insight in "We will be returned to the cubicles/that have been dug for us" must bring a glow of satisfaction as we find the modern workplace recognized! And in nature, in a world seeming to be spinning in reverse, there are "winds/at the velocity of mountains/drifting deeper inside a goshawk." Ever imaginative, the sequence unfolds with the language beautifully matching the adventurous vision of the poem. David Chorlton This poem, this leap, crawled out of a dime's sigh and washed up on the shores of our happy little dust bowls. If you can quiet your metabolism down to a "cigarette child groping/ through the salt storms/ and tenement blizzards" you will feel it too. But it won't be easy. Rob Cook has placed a startling and inspired text in the hedges of dead currency and saturated attention spans. He has snuck into the "opinion coliseums/ and anonymous mating fortresses..." searching for an "unsafe word." He's been listening to the ticking of ant hills where "silence is the new transgression..." If you haven't tried to do that, and won't try, you will be lost. And it will be your fault. John Goode

Perez's use of language is achingly beautiful and, at the same time, disgustingly vile. His willingness to delve deeply into the heart of transgressive language would undoubtedly shock even Julia Kristeva. His raw examination of the truly abject is almost as disturbing as his ability to wrestle his reader's sensibility into some vague acceptance of the notion that this horrifying abjection is part of what makes us human: a troubling notion indeed. At times I had no idea what to think of this work. It is resolutely not for the faint of heart. Perez has an uncanny ability to cut through the polite, the acceptable, and the commonplace as he takes his reader on an expedition that leads unflinchingly to the outer edge of the darkest human desires. bookslut.com

THIS IS A GREAT BOOK! Jeff Wright has become the first human being to win the Kentucky Derby, Preakness and Belmont. Take that, Equines! He did it the poet's way-he crowned himself with sonnets, and gifted them to the world. Reciprocate his generosity by reading with your whole body. And they're off! Bob Holman Wright's had always a surrealistic edge to his work combined with a clarity that puts him in a league all his own. Hal Sirowitz Jeffrey Cyphers Wright's work is dazzling, befuddling, up and down, and impossible to crown, though he writes in the impossible form of the shattered Corona. His work is full of good humor, but it is also as wildly rumbling as the elephant in mourning. As archaeologists find new skulls, so Wright discovers impossible anamorphosis of poetry. The work seems to come out of Ted Berrigan's sonnet sequences, then suddenly it seems to veer into all possible sequences, a globalism which is the point. Not to like these works is like rejecting New Orleans because it is full of pleasure. Everything seems to be packed in here, even oneself. But the self that you discover is strange and seems like nothing you had guessed as yourself before. We have just stepped on Mars by mechanics; Wright has been there for a long time by human means and refusing to clean up. "Between the mess and the message" and the mesa and the mismatch, there he lies. David Shapiro In Triple Crown, Jeffrey Cyphers Wright goes for the ultimate prize. He joins the ring for competition in one of the sport's deadliest events-the sonnet sequence. "Look for me in the crosswalk smackdown," he writes, aware of the pratfalls. First, the sonnet was declared dead, then alive, then surging. The "innocent euphoria" Wright achieves is not so innocent, but it is euphoric. From rock and roll (a critic's perspective), to mythology as one's contacts; from the allegorical to the historical to the legendary to the underknown, Wright's places are sites of giddy invention, where the risk of collapse is justified by views from previously unscaled heights. In Triple Crown, Wright proves himself worthy of the title: poet-lover. Vincent Katz

How refreshing to come across a book like Katherine Hastings' marvelous Cloud Fire, rich and verdant in formal experiment and range. Mixing lyrics, narratives, curses, blessings, spells, and unabashed love poems, the work is hard-won and honest, generous and rigorous. In poem after poem Katherine Hastings casts her ever-vigilant, observing eye, sharp as it is poignant. Her deepest concern seems our perilous locale and planet: "My city whose streams are rock doves and parrots/ whose bright arm is a spring board for love and suicides" and yet "we breathe here better than anywhere, distressed." Gillian Conoley Lovely... it's your veiled history. Lawrence Ferlinghetti For Katherine Hastings, "The mirror is a lake of longing." Her poems are told us by "a woman with a moon in her chest"; their surprising images embrace close observation, deeply dramatized love and losses, and have the power of crossing boundaries of spirit to reveal truths otherwise unseen. Daniel Hoffman, U.S. Poet Laureate, 1973-74 Katherine Hastings is a poet whose words embody light; she is the ambassador of luminescence to American poetry today. It is no wonder that clouds catch on fire in this magnificent and transformative collection. In poems like "Whittenberg", where an atmosphere of light invades and reshapes, "Pushing off from the Wall", where white cells of water, jewel-lined/undulate amoeba-shapes, and "Twister" clear blue prophecy is proclaimed. In "Bird. Song. Knife. Heart" (No one saw her glide among the lake or river/a radiance wrapped in flame), and "Mother" ("Light transfers from the formless/smatters across the given/world"), and so many others, Hastings truly succeeds in evoking a continent of light on radiant pages ...There is no voice like hers! I wholeheartedly recommend Cloud Fire, poems that will illumine your consciousness both while reading and long, long afterwards. Lee Slonimsky

1000 page poem centered around the daily views from one window. 100 page poem centered around the daily views from one window. 100 page poem centered around the daily views from one window.100 page poem centered around the daily views from one window.

They gossip about a girl's ecstasies they caused, over brandies, that fine ladies choose not to allow, for it amounts to surrender to his beliefs about his God-given self. Acting is little known to him. Country girls and always from other towns know better when they soon enough go knees andtoes circling on stage and leaving the crowds on an arm for what's left of the evening. Their manhood lives in our pleasure, so why not sell it to them. Nothing's free. What else have we got to sell? The naïve among us are the most to be pitied. The best may get a better place in town.

The first book devoted to the work of the Objectivist Poets: Louis Zukofsky, George Oppen, Charles Reznikoff, Carl Rakosi, Lorine Niedecker. Though not a historical study, Heller explores the modernist roots of the Objectivist tradition and illuminates the meaning and importance of these poets not only for writers and scholars but for poetry itself as significant knowledge of our world.

Bird on the Wing: Travels of the Self contains fifteen stories of exotic characters in exotic situations. They are presented in a style woven from both reality and the surreal. These stories seek to unravel the mystery of human interconnections in the presence of illness, death and love.

"...What I contrast with this is the perpetuity of energy, which is not quaint. The Indian peoples in the United States have been working on this whole idea of universe where nothing is apportioned or excluded. I mention this because the mind/body is a whole system. If one part of the system doesn't work, you become sick. The seeming tonic to this deadly malaise is psychic interconnection.But now just the opposite is happening. If you look at the newspaper, civilization is rife with separation and fracture......" Interview with Will Alexander, Rain TaxiSunrise in Armageddon is a work of blistering, sibyllic, incensed imagination. Will Alexander's thicketed prose advances lexical ignitions of astounding angle and amplitude. Nathaniel Mackey, author of Splay AnthemRestless. riveting. Unnerving. Wilson Harris, author of Dark JesterOn one level, Alexander is like watching a new plant grow in a speeded-up film, in which all shoots, however obscure, appear to contribute to a veering and uncanny structure. On another level, he may be the first major "outsider artist" in American poetry, in as much as his work bears no relationship whatsoever to anyone in the twentieth-century American canon. Whatever he is, he is a force to reckon with, whose self-propelled soarings evoke Simon Rodia's "Watts Towers" as well as Siberian ecstatics. Clayton Eshelman, author of Conductors of the Pit

Ichthus "The desert is the garden of Allah." a Moslem saying In the sea of the desert of the self, in the wind and sand, desire lives without meaning. In the garden of the city of waters it lives-- desire for a deity who lives before words, who makes of the desert a garden, daily prayer his empery, what food and drink are to the body. Without our hearts he has no being. Who does not want to touch into the kingdom at the secret heart of language, so close within the heart beneath skin, that rules by silence and desire -making in the desert the stream, the river, the sea.

Innovative writing by 39 women writers, including Lidia Yuknavitch, LilyGrace, Laurie Foos, Kass Fleisher, Barbara Baer, Cynthia Reeves, Lauren Schiffman Karen Lillis, Megan Milks, Lyn Halper, Fanny Howe, Suki Wessling, Jessica Treat, Shelley Jackson, Laynie Browne, Roni Natov, Cris Mazza, Elizabeth Block, Geri DeLuca, Alicita Rodriguez, Gwen Hart, Masha Tupitsyn, Martha King, Sarah White, Nina Shope, Carmen Firan, Rosebud Ben-Oni, Anna Mockler, Sandra Miller, E.C. Bachner, Tsipi Keller, Summer Brenner, Amina Cain, Karen Brennan, Aimee Parkison, Lily Hoang, Lynda Schor, Danielle Dutton, Danielle Alexander, Debra Di Blasi, and Alexandra Chasin. -- In this diverse and comprehensive volume, the writers have manipulated traditional ways of storytelling, language, and plot, to express new and distinct ways of seeing and experiencing the world. Narrative form is subverted, provocative subject matter explored, and language takes on a scatological form to depict an authentic human experience that makes reading a truly participatory act. At the conclusion of each work, the contributor has composed a few impressions sharing what inspired her to tell that particular story.

Dr. M. Maurice Abitbol has spent many years treating and interviewing patients about their sexual lives. As the chairman of obstetrics and gynecology at New York's Jamaica Hospital Medical Center and as an associate professor at the State University of New York, he has brought both practical and academic perspectives to the subject of human sexuality. Drawing on his experiences with a wide variety of senior, sexually active patients as well as his extensive knowledge of the cultural, historical and anthropological aspects of human sexual attitudes and adaptations, Dr. Abitbol gathers together both the dynamic metrics and the psychologies inherent in the often overlooked area of senior sexual activity. His care in presenting case studies which form the core of Sex in the Senior City reflects not only an attempt to de-mystify the subject but to bring it into relation with medicine's ever-growing understanding of the nature of aging and its resilient physical and emotional evolutions. Sex in the Senior City will prove a useful source for both the casual researcher and serious medical practitioner alike.

How much dexterity does a writer need to write a "story" in a single sentence? In their virtuosic collection, brevity masters Harold Jaffe and Tom Whalen, drawing from a host of injustices currently at play on our teetering earth, meet this challenge with a variety of formal strategies: prose poems, micro-fictions, creation myths, pensées, headlines, fables, fragments, quotations, and graffiti. With its nuanced, often antiphonal structure, readers of Single-Sentence Stories will be engaged, entertained and informed by this unique collaboration.

Nina Zivancevic's SMRTi belongs to a hybrid genre of fictional poetics cum anthropological essays. These essays are somewhat included in a vast genre of travelogues but these journals are more akin to the explorations of Margaret Mead and Levi-Strauss who believed in the anthropology of the Big Other not the strictly geographical descriptions of the lands we visit.

Christmas 2014: the self is admitted and both self and sister are then discharged after the New Year. We follow the daily life of the psychiatric ward and experience everything from toilet visits, medication, meals, sexual desires to the longing for the outside world.