Bøger udgivet af White Pine Press

Youth, ideals, and life of the “sent-down” (rusticated) youth during the cultural revolution.Journal of the Cultural Revolution is a collection of poems depicting the lives of educated youth during the cultural revolution. The author uses poetry to reminisce about many friends and memorable experiences during their time as educated youth, reflecting how the era influenced individual destinies. The language is poetic and with bursts of unexpected insights with strong emotions and rhythms. At once a work of narrative lyricism and an act of personal courage, this memoir in verse documents the human cost of a period of political turmoil in China’s recent past.The “Great Proletarian Cultural Revolution” marked a critical passage on China’s road to modernity, as momentous for the world as it was for one boy caught up in its throes. In poetry that juxtaposes the political and the personal, the social and the individual, Luo Ying depicts a time when ultra-leftist mass movements and factional struggles penetrated the deepest level of private daily life. In bleak yet vivid portraits he reveals how the period indelibly marred him. “I am a red guard just as I always was,” he writes.Giving voice to the inner life of a man haunted by his experiences, Journal of the Cultural Revolution bears witness to a traumatic time when ideology threatened to crush individuality. Luo Ying’s poetry stands as eloquent testimony to the power of the individual voice to endure in the face of dire social and historical circumstances.

What is real and what is not, how to preserve history and self in a changing landscape, and how to build roots where the ground does not accept them.Easy Victims to the Charitable Deceptions of Nostalgia grapples with the tensions associated with being exiled to home, with the environment and gentrification when there is a lack of land, and what that does to family, history, and family history. It is about the personal islands we all inhabit. Nostalgia is deceptive and seductive. We live in a time of tumult, a time therefore where the past may be, perhaps too easily, romanticized. There is a tendency to fall for these deceptions. Not just our own, but those of the generation before us, as well as the nostalgia of the generations that came before them, that they fell for. On the small island where this manuscript is largely set, there is such transience and such dependency on the narrative born of tourism that the truth and fiction of a place’s history become skewed. As the water rises and the cost of living becomes such that working people and families rooted on the island for years cannot afford to live here, cannot risk staying, the distance to mainland seems lengthened. This is the perspective from which this book wrestles with the tough pull of nostalgia and the questions of what is real and what is not, how to preserve history and self in a changing landscape, and how to build roots where the ground does not accept them.

Celebrating the prose poetry sequence in twentieth century literature.Sequences, some narrative and some fragmentary emerged as a form early in the twentieth century with the work of  Ernest Hemingway, Amy Lowell, T.S. Eliot, Thornton Wilder, H.D., and others. Braids & Sequins traces the form to contemporary writers including Donald Hall, Holly Iglesias, Robert Bly, Michael Benedict, Kay Boyle, David Young, Robert Duncan,  N. Scott Momaday, Jim Hazard, Nin Andrews and many others.

A deep meditation on the power and resonance of the sea.In a stunning collection of prose poems, Agosin reflect on the sea as a force of transformation,  a creative force of energy, spirituality, and redemption. She writes about the patterns of the ocean, its moods day and night, and the sea as a constant companion.

In poems that echo those of his classic ancestors Luo Ying captures the natural world.Luo Ying is best-known for poems that give voice to his experiences during the Cultural Revolution (1966–1976) when he was one of the “sent-down youth.” The poems in Water Sprite show us that despite his experiences during those years, his individual voice was not crushed beneath the weight of ideology. In poems that harkens back to the observations in classical Chinese poetry, Ying focuses on small and often unobserved aspects of the natural world.  His words paint delicate pictures of a world, and a psyche, that remained intact—though not untouched—through turmoil and chaos.

A iterary testament to friendship and the ways in which a vibrant collaboration can inspire poets to plumb the depths of their experiences.The concluding volumes of a ten-year-long conversation in prose poetry between the award-winning poets Marvin Bell and Christopher Merrill. They write from different generations and places around the world on a range of themes from memory to politics, aging and mortality, the vagaries of desire and the imagination.Bell and Merrill wanted to create a wide-ranging dialogue to explore the meaning not only of their separate experiences but of the very ways in which a collaboration fosters a deeper engagement with each other—and the world. In his penultimate message to Merrill, written just hours before he suffered a heart attack from which he never recovered, Bell said that what he loved about their collaboration was that each new prose poem defined his immediate future—which was what After the Fact provided both of them for ten glorious years.

An illustrated work of lyric poetry and prose on drinking green tea as a meditation.An Homage to Green Tea is an illustrated collection of poetry and prose on the beneficence of green tea, and ways to experience that beneficence. It collects two works of classical Korean literature into a single volume.“A Poem for Green Tea” is a long poem that includes short-short stories, legends, anecdotes, other related poems, excerpts from reference books about green tea, religious and spiritual (Buddhist/Taoist) writing, and Ch’oŭi’s notes to the poem. Taken as a whole, the poem seeks to authenticate the value of Korean green tea relative to Chinese green tea in a pleasing, aesthetic manner. “A Poem for Green Tea” ends with an epilogue poem in praise of Ch’oŭi’s unparalleled green tea.“The Divine Life of Tea” is a collection of instructions on how to arrive at the best cup of green tea. It begins with superb locations for the cultivation of green tea, when to pick the leaves, how to prepare and store leaves, ideal types of water, grades of boiling water, the utensils to use in preparation of a cup of green tea, and the type of company one should keep—a list by no means comprehensive. “The Divine Life of Tea” ends with an epilogue by Ch’oŭi, describing his purpose and efforts in writing the manuscript.

Tao Yuan-ming stands first in the line of China’s great lyric poets. Tao Yuan-ming, who lived around 400 A.D., stands first in the line of China’s great lyric poets. Just as the Impressionists taught us to see in a new way, Tao taught the Chinese a lyrical attitude toward life. Creator of an intimate, honest, plain-spoken style, Tao was a man whose life spoke as eloquently as his art. Indeed, no poet’s life and art have ever been more of a piece. Born into corrupt and turbulent times, Tao resigned his post as Magistrate, choosing to live the humble and difficult life of a farmer. He and his family would pay dearly for this choice, enduring hunger, cold and poverty. But he never wavered from it, holding steadfastly to the Confucian virtue of “firmness in adversity.” For a scholar to live this kind of reclusive life, giving up wealth and power, represented the highest moral virtue to the Chinese Tao was given the posthumous title “Summoned Scholar of Tranquil Integrity.” Integrity is certainly the first word that springs to mind in thinking of Tao.

The history of modernism in Chicago, as told by the writers who were there.  London, Paris, and New York all have their chroniclers, and now Chicago gets her due. A city of enormous contemporary literary vitality, it also was the home of a profoundly generative burst of creativity that helped shape modernism as we know it. Robert Alexander locates this efflorescence in its historical context, and then lets the participants speak for themselves. Part oral history, part anthology, and assembled from names well known and not (including Ford Madox Ford, Sherwood Anderson, W.E.B. DuBois, Edgar Lee Masters, and Eunice Tietjens), in A Robin’s Egg Renaissance, Alexander has assembled a chorus of voices that shaped modernist aesthetics on the shores of Lake Michigan, with after effects in places and years far beyond.

Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane HirshfieldBuilding the Barricade, is poetry of witness, and a lyric account of the sixty-three day Warsaw uprising.Caught between German occupation and the advancing Soviets, the Polish Resistance Home Army barricaded central Warsaw in hopes of liberating the city and gaining Polish sovereignty. Building the Barricade is Anna Świrszczyńska’s first-person account of the atrocities that destroyed over 60% of the Polish capital and left over 100,000 civilians and 16,000 Polish resistance fighters dead.Świrszczyńska had joined the resistance as a military nurse and later wrote: “Day and night German bombers raged over the capital, burying the living beneath the rubble.”

Poems that travel with a sense of urgency, bearing witness to precarious beauty, fleeting joy and the unfinished work required to survive. The poems in this collection are located in many places including Italy, Russia, Hawaii, Florida, France, Texas, Minnesota and elsewhere. These different places are roots of the same tree that stands in the midst of a threatened and still beautiful earth. Through multiple locations, White explores how we might continue to live inside this vanishing with all the tools that have always been at our disposal: wonder, grief, hope and joy. The poems are meditations on this perilous moment in time and the demands that this moment places on anyone to stay curious and grateful even in the midst of our inability to change course or self-correct with a view toward the greater interconnectedness of all things.

“They are a form of language on landscape, a form of inscape, that, intimate and moving, are also arresting and revelatory.”— Arthur Sze A Luminous Uplift is a rich compendium of John Brandi’s new and selected prose spanning four decades of investigative travels through the American Southwest to the far reaches of the Himalaya. John Brandi’s selection of writings over the last four decades opens with his awakening to landscape and poetry during his upbringing in California, his counterculture years in the Sixties, and his Peace Corps work with indigenous farmers in the Andes. Essays on his multiple visits to India, Sikkim and Nepal, with vivid descriptions of Khajuraho’s erotic temples, the ritual dances of Kerala, the monasteries of the Himalaya, move from the physical landscape to the literary, with his discovery of Ghalib’s poetry and his reflections on Baudelaire while lost in the crowds of Mumbai. Brandi roves in these pages from the sky villages of Hopi, the Deer Dance of Taos, walkabouts with Japanese poet Nanao Sakaki, to his practice of haiku in the New Mexico mesa lands he has made his home.

Efe Duyan is an internationally recognized poet, his work in the US includes the Hurst Professorship at St. Louis University and a residency at the International Writing Program at the University of Iowa.He is a young Turkish poet influenced by his mentor, Nazim Hikmet

Windows That Open Inward: Images of Chile is a stunning collaboration of visions: the vision of a great photographer and the vision of a great poet. Windows That Open Inward is a mosaic of visual images fused with words that create a compelling image of Chile. Rogovin, a well-known photographer, journeyed to Chile in 1967. At Nerudäs suggestion, he went to the island of Chiloe, in the south. Rogovin¿s visit was most fruitful. He came away with some extraordinary photographs, capturing the stark beauty of Chiloe and the unromantic life of its people. His portraits depict individuals and families and the tools and elements of their existence. There is a symbiotic relationship between Rogovin and Neruda, a common interest in and respect for the ordinary. Editor Maloney has selected a diverse cross-section of Nerudäs poems to complement the photographs. White Pine Press is reissuing this classic to celebrate the fiftieth anniversary of the press.

Vincenz is a prolific author and translatorHe is the editor of MadHat Press & publisher of New American WritingHe will organize a zoom tour for the book and a regional in person tour

The Abduction details the terror and sorrow surrounding the abduction of Maram Al-Masri's only child by her then husband who fled to Syria, where due to the patriarchal nature of society and the social/political problems she was unable to fight for custody. The Abduction refers to an autobiographical event in Maram Al-Masri's life. When, as a young Arab woman living in France, she decides to separate from her husband with whom she has a child, the father kidnaps the baby and returns to Syria. Al-Masri won't see her son for thirteen years. This is the story of a woman denied the basic right to raise her child. These are haunting, spellbinding poems of love, despair, and hope, a delicate, profound and powerful book on intimacy, a mother's rights, war, exile, and freedom. Maram Al-Masri embodies the voice of all parents, who one day, for whatever the reason, have been forcibly separated from their loved ones. She writes about the status of women, seeking to reconcile her role as a mother with her writing work. The terrible war that has devastated her native country since 2011 has painfully affected her. Also included in The Abduction is The Bread of Letters, comprised of two poems addressing the act of writing: "Isn't the act of writing / an outrageous act in itself? Writing / is getting to know / one's innermost thoughts. / Yes, I am scandalous / because I show my truth and my nakedness of woman. / Yes I am scandalous / because I scream my pain and my hope, / my desire, my hunger and my thirst." For Al-Masri, writing is a vital and deeply human need: "When I write what I feel, I'm afraid of nothing. Poetry is my freedom and touches me where it lands most deeply. It offers me life vibration, the flush of a river, where feet and dreams meet." The Guardian described her as "a love poet whose verse spares no truth of love's joys and mercilessness."

Floating between memoir and philosophical inquiry, Mariella Nigrös Memory Rewritten explores the ongoing impact of a childhood trauma and the power of poetry to come to terms with loss, even finding beauty in it. "Sister souls of mine, never look back!" admonished Uruguayan modernist poet Delmira Agustini (1886-1914) in an elegy that reminds us of the fate of the biblical Lot¿s wife as well as the ill-fated Orpheus. But sometimes, looking back is necessary ¿ particularly when it is a sister who has been lost. Uruguayan poet Mariella Nigrös Memory Rewritten is a meditation on the insufficiency of language to provide a container for human emotion and memory¿ and yet the reality that it is the only means we have. "I¿m writing an elegy / and so I¿m arranging a dark bouquet of useless words /with their eloquence of broken petals / and burning in the rhetoric of embroidered leaves / the poem grows in black water / of the fragile overflowing vase," Nigro states. The ghost of a beloved sister dead in childhood haunts these poems, as does the need for repetition, the compulsion to return to the sites of loss and pain. However, rather than merely repeating memories, Nigro elegantly transforms them, salvaging beauty from the wreckage: ¿In a box I locked like Eleusian mysteries the poems we¿d shared the previous year under the January moon, along with the colored ribbons and glass beads that we¿d fought over, now mine alone.¿ In a poetics reminiscent of Helene Cixous¿s ecriture feminine, Nigro transforms the visceral, bodily experiences of loss and brings the reader along with her on a journey where grief does not proceed in any orderly stages, where pain and healing coexist within the mess of language, and out of them emerges a poem.

“The best poet of the younger generation, and deserving of more recognition than most of the poets in the older generation: that is, mine and the one beyond it.” — James DickeyTillinghast’s poems continues to stay curious and engaged, involving himself with the twists and turns of American history and how they manifest themselves in the social issues of today. Entering his ninth decade, Tillinghast addresses his own sense of mortality and personal vulnerability. He is at heart a lyrical poet, but his inherent impulse to celebrate life is troubled by the changing world he finds himself living in.

A book about living in foreign places as opposed to traveling in them.

Kobun Chino was a dragon-master of Zen's ability to reach "beyond words." Gesture, ink, space, light, laughter; dry brush, wet brush, sadness, form, emptiness are found in his calligraphy.

Language is water that finds resistance across borders, her poetry flowing from her Balkan roots into her adopted German tongue.

The poems in Mars Poetica examine the conscious and unconscious ways we comprehend both the world around us and the one inside.

A breathtaking visit to the magic of Kyoto.This Kyoto dwellingReveals as many seasonsAs eternity.

"A delectable selection of poems by China's greatest women poets in translations of exquisite beauty.  A rare achievement! “ —Red Pine

Yvan Goll is one of the great lyric poets and authors of the twentieth century.

"A deeply compelling portrait of our educational system from the bottom up and the inside out."

In searing lyrics, Beers explores beauty and violence, and the voyeuristic impulse toward and unhealthy human appetite for both.

Blakely calls `duets¿ with Robert Johnson: her poems visiting his songs, his songs breathing in her poems