Bloody Slabs of Raw Poetry


Book Description

Bloody Slabs of Raw Poetry, What could that be? Well let me explain it is a collection by one Healium Shriekspear, yes, Healium Shriekspear, The altar ego, The rawness of a poet, A certain poet, So what would you expect of this one Healium Shriekspear? Terrible poems, Awful, Works of utter disappointments each one. I would not advice anyone to read this this abomination to poetry. I would have to say this certain poet could go further I mean not raw enough. But hey he is just starting, Unfortunately, But who knows maybe someone will enjoy this crazed poet ramblings. I would beg to say this is a pile of vomit. So step right up read this if you are brave enough to read this nonsense... Caution. There are explicit words in this




Atrophy


Book Description

Dive bars, gas stations, bedrooms, and snowfields comprise the setting as the speaker asks: What do we feel? What should we feel? Who gets to feel what? In his moving debut collection, Jackson Burgess examines heartbreak, depression, and empathy through a lens of rigorous introspection. Atrophy’s poems vary in location, mostly between Los Angeles and Iowa City, with reoccurring characters serving as touchstones, forming the book’s narrative. Much of the collection is about or directly addresses an ex-lover, Lily. In the wake of that failed relationship, Atrophy wrestles with loneliness, substance abuse, and dissociation, utilizing lists, letters, prose poems, and free verse. These poems celebrate the past while mourning it, armed with the advantage of retrospect. Prescription drugs, dog fights, dance parties, love letters, and ghosts—the world depicted is at times dark, at times humorous, but always human. Atrophy is vulnerable and cinematic, a series of manic meditations exploring what it means to love and be loved, to hurt and be hurt.




Pocket Full of Glass


Book Description

Poetry. "Jackson Burgess is a phenomenal young poet, and whether he's writing against the backdrops of Los Angeles (and its dark underworld) or the bohemian gloss of Paris, he is the most urgent and raw urban Transcendentalist in recent American poetry. The cinematic visual intelligence and the visceral rhythmic power of these poems is dazzling--POCKET FULL OF GLASS is nothing less than a brilliant debut."--David St. John "Jackson Burgess's poems are astonishing--the way they keep going further when you think there is no further to go, taking language itself out past the borders of what can be said, what can be thought or felt or borne, toward a kind of beauty that owes nothing to convention or order or the laws of beauty, but belongs wholly to the poet's own unflinching vision of the mutilated world. 'Try to praise the mutilated world,' Adam Zagajewski has written, and Jackson Burgess has taken up that challenge, and then some. In POCKET FULL OF GLASS, he gives us poems full of risk and passion, full of despair for the wreckage of the bruised and shattered landscapes through which he moves--urban Los Angeles, night-time Paris, those rooms in which we cannot die, in which the loneliness of lovers is matched only by the longing, still, for love. And somewhere in all the wreckage, something keeps shining like a shard of glass, a jagged piece of light."--Cecilia Woloch




Alamo Theory


Book Description

"Bell's work is a concoction of the surreal and the hyper-real, the hilarious and the devastating."—The New Yorker "One of the most tonally versatile young poets working today."—Boston Review "A contemporary knockout, Bell's poems run the gamut of good: they're seriously funny, bizarre, wry, ambitious, acrobatic, gorgeous. Sometimes they have zombies."—Flavorwire Joshua Bell's unnerving and darkly funny second collection of poems inhabits various personae—including a prominent series starring the garrulous and aging rock star Vince Neil from Mötley Crüe—through which he examines paranoid, misogynist, and murderous elements within contemporary American culture. Throughout are prose "movie poems" that feature zombies, a summer camp slasher, exorcism, and courtroom drama. From "The Creature": Like many humans, I enjoy lifting small, living things. Your wife qualifies, but doesn't like to be lifted. I guess it's probably because, as is true with many humans, your wife doesn't want to be eaten, and often we are lifted, by the bigger thing, right before it drops us on a rock and eats us. I understand, I say to your wife, lowering her body to the kitchen floor, her legs bending slowly as she takes back the weight I've returned to her, like an astronaut moving back into the gravity of the capsule… Josh Bell earned an MFA from the Iowa Writers' Workshop and a PhD from the University of Cincinnati. He was a member of the creative writing faculty at Columbia University and is currently Briggs Copeland Lecturer at Harvard.




The Last Troubadour


Book Description

A haunting and intimately observed new collection from David St. John, a poet of soaring imagination and passionate candor In The Last Troubadour, David St. John has given us a collection of new and selected poems of astonishing beauty, precise and keenly observed but also touched with sensuality and deep feeling. Nothing is too small to escape notice (in “Guitar” St. John reflects on the beauty of that word) or too large to be explored-the suicide of a friend, the illness of a lover, or the texture of longing and desire. A sharp observer of landscapes within and without, St. John directs his empathetic gaze and vivid, inventive voice to investigating both the darkest and the most inspiring parts of being human, the small moments between friends and lovers as well as the groundswells that alter lives. At times lyrical, sometimes conversational, occasionally wry and playful, St. John’s poetry reveals an expansive vision animated by “intimacy and subtlety, and by a disturbing force, the work of an urgent sensibility and a true ear.” (W.S. Merwin) The beauty, music, and artistry of David St. John’s widely admired work is fully on display in this masterful collection.




Food, Poetry, and the Aesthetics of Consumption


Book Description

The essays in this book examine the importance of food as a pivotal element - both materially and conceptually - in the history of the Western avant-garde.




Some Are Always Hungry


Book Description

Winner of the Prairie Schooner Book Prize in Poetry, Some Are Always Hungry chronicles a family's wartime survival, immigration, and heirloom trauma through the lens of food, or the lack thereof. Through the vehicle of recipe, butchery, and dinner table poems, the collection negotiates the myriad ways diasporic communities comfort and name themselves in other nations, as well as the ways cuisine is inextricably linked to occupation, transmission, and survival. Dwelling on the personal as much as the historical, Some Are Always Hungry traces the lineage of the speaker's place in history and diaspora through mythmaking and cooking, which is to say, conjuring.




Thunder on the Dew


Book Description




A History of Modernist Poetry


Book Description

A History of Modernist Poetry examines innovative anglophone poetries from decadence to the post-war period. The first of its three parts considers formal and contextual issues, including myth, politics, gender, and race, while the second and third parts discuss a wide range of individual poets, including Ezra Pound, T.S. Eliot, W.B. Yeats, Mina Loy, Gertrude Stein, Wallace Stevens, William Carlos Williams, and Marianne Moore, as well as key movements such as Imagism, Objectivism, and the Harlem Renaissance. This book also addresses the impact of both World Wars on experimental poetries and the crucial role of magazines in disseminating and proselytizing on behalf of poetic modernism. The collection concludes with a wide-ranging discussion of the inheritance of modernism in recent writing on both sides of the Atlantic.




The Complete Poetry of James Hearst


Book Description

Part of the regionalist movement that included Grant Wood, Paul Engle, Hamlin Garland, and Jay G. Sigmund, James Hearst helped create what Iowa novelist Ruth Suckow called a poetry of place. A lifelong Iowa farner, Hearst began writing poetry at age nineteen and eventually wrote thirteen books of poems, a novel, short stories, cantatas, and essays, which gained him a devoted following Many of his poems were published in the regionalist periodicals of the time, including the Midland, and by the great regional presses, including Carroll Coleman's Prairie Press. Drawing on his experiences as a farmer, Hearst wrote with a distinct voice of rural life and its joys and conflicts, of his own battles with physical and emotional pain (he was partially paralyzed in a farm accident), and of his own place in the world. His clear eye offered a vision of the midwestern agrarian life that was sympathetic but not sentimental - a people and an art rooted in place.