Incarnate


Book Description

"Live as if you were already dead" is the Zen admonition animating Marvin Bell's brilliant poetic invention, Dead Man Poems.




Dead Man's Float


Book Description

"Harrison's poems succeed on the basis of an open heart and a still-ravenous appetite for life."—The Texas Observer The title Dead Man's Float is inspired by a technique used by swimmers to conserve energy when exhausted, to rest up for the long swim to shore. In his fourteenth volume of poetry, Jim Harrison presents keen awareness of physical pains, delights in the natural world, and reflects on humanity's tentative place in a universe filled with ninety billion galaxies. By turns mournful and celebratory, these fearless and exuberant poems accomplish what Harrison's poems always do: wake us up to the possibilities of being fully alive. "Forthright and unaffected, even brash, Harrison always scoops us straight into the world whether writing fiction or nonfiction. This new collection [Dead Man's Float] takes its cue from a technique swimmers use to conserve energy in deep water, and Harrison goes in deep, acknowledging our frailness even as he seamlessly connects with a world that moves from water to air to the sky beyond."—Library Journal “Harrison pours himself into everything he writes… in poems, you do meet Harrison head-on. As he navigates his seventies, he continues to marvel with succinct awe and earthy lyricism over the wonders of birds, dogs, and stars as he pays haunting homage to his dead and contends with age’s assaults. The sagely mischievous poet of the North Woods and the Arizona desert laughs at himself as he tries to relax by imagining that he’s doing the dead man’s float only to sink into troubling memories…Bracingly candid, gracefully elegiac, tough, and passionate, Harrison travels the deep river of the spirit, from the wailing precincts of a hospital to a “green glade of soft marsh grass near a pool in a creek” to the moon-bright sea.”—Donna Seaman, Booklist "Harrison doesn't write like anyone else, relying entirely on the toughness of his vision and intensity of feeling."—Publishers Weekly Warbler This year we have two gorgeous yellow warblers nesting in the honeysuckle bush. The other day I stuck my head in the bush. The nestlings weigh one twentieth of an ounce, about the size of a honeybee. We stared at each other, startled by our existence. In a month or so, when they reach the size of bumblebees they'll fly to Costa Rica without a map. Jim Harrison, one of America's most versatile and celebrated writers, is the author of over thirty books of poetry, fiction, and nonfiction—including Legends of the Fall, the acclaimed trilogy of novellas. With a fondness for open space and anonymous thickets, he divides his time between Montana and southern Arizona.




Whiteout


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Things to Say to a Dead Man


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Tender, angry, moving poems that speak to anyone who has ever cared for and lost a loved one.




The Dead Man


Book Description

The Wilson mansion loomed against the autumn sky like a dying thing, its Victorian turrets piercing the low-hanging clouds. Located miles from the nearest town, the estate's wrought-iron gates were perpetually rusted half-open, as if eternally inviting – or warning away – visitors. Local teenagers whispered stories about the place, about the screams that sometimes echoed across the overgrown grounds on moonless nights. But Dr. Clive Wilson paid no attention to such tales. In his basement laboratory, surrounded by humming machines and walls of mysterious equipment, he was on the verge of something unprecedented. The doctor's hands, once steady enough to perform the most delicate surgeries, now trembled with excitement as he reviewed his notes for the thousandth time. The formulas, the calculations, the precise measurements of electrical current needed to bridge the gap between life and death – it was all there, waiting to be proven. His daughter Maria watched him from the doorway of his study, her dark eyes filled with concern. At twenty-four, she had inherited her late mother's ethereal beauty – pale skin, raven hair, and features that seemed almost too perfect to be real. But lately, living alone in this massive house with only her increasingly obsessed father for company had taken its toll. Dark circles had formed under her eyes, and her once-vibrant smile had faded to something more haunted. "Father," she said softly, "you need to rest. You've been at this for days." Dr. Wilson barely looked up from his notes. "Just a little longer, dear. The alignment of the electromagnetic fields must be perfect. One miscalculation and..." He trailed off, lost again in his work. Maria sighed and retreated to her room, where she spent hours staring out the window at the family cemetery that dotted the far corner of the property. The marble mausoleum stood like a sentinel among the weathered headstones, holding generations of Wilsons in its cold embrace. She often wondered if her mother's spirit wandered those grounds, and if so, what she would think of what her husband had become. When Derrick Stevens answered the advertisement in the newspaper, it seemed like fate. He appeared at their door one crisp morning, his blonde hair catching the autumn sun like a halo. Maria felt her heart stop when their eyes met – his were the color of a summer sky, bright and clear and full of life. But there was something else there too, a shadow of desperation that made her want to reach out and comfort him. Dr. Wilson's eyes lit up for entirely different reasons when he saw Derrick. Here was his perfect subject – young, healthy, and most importantly, alone in the world. The doctor's questions during the interview were precise, calculated: No living relatives? No close friends in the area? Perfect. What Dr. Wilson didn't count on was the way Derrick and Maria gravitated toward each other. During the preliminary tests, they would steal glances across the laboratory. When Dr. Wilson was absorbed in his work, they would meet in the garden, walking among the dying roses and sharing pieces of their lives. Derrick told her about the car crash that took his parents, about bouncing between foster homes, about his failed modeling career and mounting debts. Maria shared her own loneliness, her mother's death, her father's growing obsession with his work. The mansion seemed less oppressive with Derrick there. For the first time in years, laughter echoed through its halls. But Dr. Wilson noticed the change in his daughter, saw the way she looked at Derrick, and something dark began to grow in his heart. The thought of losing his only child to this penniless drifter, of being truly alone in his great house of shadows, was unbearable. When Dr. Wilson's old colleague, Dr. Steve Timmons, arrived to witness the experiment, the tension in the mansion was palpable. Timmons was a cautious man, his years of medical practice having taught him that playing God always came with a price. He watched with growing unease as Dr. Wilson explained the procedure – how Derrick would be technically dead for precisely three minutes before being brought back through a specific sequence of electromagnetic pulses, activated by a series of taps on the control panel. "Three taps, pause, two taps," Dr. Wilson demonstrated, his fingers drumming on his desk with practiced precision. "The sequence must be exact." Derrick had done this before, multiple times, each successful resurrection building Dr. Wilson's confidence. But this time was different. Just before the experiment began, Maria burst into the laboratory, her face glowing with joy, an engagement ring sparkling on her finger. "Derrick and I are getting married!" she announced. The look that crossed Dr. Wilson's face in that moment was something Dr. Timmons would never forget – a flash of such primal rage and fear that it transformed his features




Dead Man's Flower


Book Description

"Some years ago I was utterly entranced by Jill Jennings' starkly honest poem, 'Hanging Out Laundry With My Grandmother.' In it she shows us how to hang up our own griefs and failures to a redemptive sunlight. The world of her readers will surely respond by taking care of the real and metaphorical laundry that awaits our own tending. The title, Dead Man's Flower, cannot be better chosen. One can see the plumeria as they really are, blooms that release their perfume only as they die, or as healing graces that come to us by feelings shared by poets who decide to live and write as Jennings has done." Mildred White Greear, poet and author of Moving Gone Dancing, and other volumes of verse.




Poems by Isaac Rosenberg


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Don't Call Us Dead


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Digte. Addresses race, class, sexuality, faith, social justice, mortality, and the challenges of living HIV positive at the intersection of black and queer identity




Mars Being Red


Book Description

“Marvin Bell has the largest heart since Walt Whitman.”—Harvard Review In a recent interview Marvin Bell said, “I’ve been trying for thirty years to figure out how best to put the news into poems—what other people would call politics. But there are some hairy aesthetic questions connected to overtly political poems.” Mars Being Red is the most political book of Bell’s storied career—and one of his most beautiful. Infuriated by our country’s military aggression and destructive politics, Bell asks, What shall we do, we who are at war but are asked / to pretend we are not? What Bell has done is craft a book of urgency and insight, anger and action: . . . I am, like you, a witness to the coffins that were Viet Nam and Iraq, to a political machine that came up three lemons . . . I am the big ears and the wide eyes to whom time happened. I lived in stormy weather writing songs of love because, tell me if you know, who can help it? Marvin Bell served on the faculty at the Iowa Writers’ Workshop for over thirty years. He is the first and current poet laureate of Iowa.