Myung Mi Kim's Commons weighs on the most sensitive of scales the minute grains of daily life in both peace and war, registering as very few works of literature have done our common burden of being subject to history. Abstracting colonization, war, immigration, disease, and first-language loss until only sparse phrases remain, Kim takes on the anguish and displacement of those whose lives are embedded in history.Kim's blank spaces are loaded silences: openings through which readers enter the text and find their way. These silences reveal gaps in memory and articulate experiences that will not translate into language at all. Her words retrieve the past in much the same way the human mind does: an image sparks another image, a scent, the sound of bombs, or conversation. These silences and pauses give the poems their structure.Commons's fragmented lyric pushes the reader to question the construction of the poem. Identity surfaces, sinks back, then rises again. On this shifting ground, Kim creates meaning through juxtaposed fragments. Her verse, with its stops and starts, its austere yet rich images, offers splinters of testimony and objection. It negotiates a constantly changing world, scavenging through scraps of experience, spaces around words, and remnants of emotion for a language that enfolds the enormity of what we cannot express.
The play takes place at Mr. Jourdain's house in Paris. Jourdain is a middle-aged 'bourgeois' whose father grew rich as a cloth merchant. The foolish Jourdain now has one aim in life, which is to rise above this middle-class background and be accepted as an aristocrat. To this end, he orders splendid new clothes and is very happy when the tailor's boy mockingly addresses him as 'my Lord'.
Moses and Kitch stand around on the corner—talking shit, passing the time, and hoping that maybe today will be different. As they dream of their promised land, a stranger wanders into their space with his own agenda and derails their plans. Emotional and lyrical, Pass Over crafts everyday profanities into poetic and humorous riffs, exposing the unquestionable human spirit of young men stuck in a cycle that they are desperately trying to escape. Spike Lee directed a film version of the play that premiered at the 2018 Sundance Film Festival and South by Southwest, and was produced by Amazon Studios. A provocative riff on the Book of Exodus and Waiting for Godot, Pass Over is a remarkable work of politically-charged theater by a bold new American voice.
A provocative riff on the Book of Exodus and Waiting for Godot, Pass Over is a remarkable work of politically-charged theater by a bold new American voice.
A rich debut collection from a promising new poet -- selected by Campbell McGrath as a winner of the 2004 National Poetry Series Open Competition
For more than twenty-five years, the National Poetry Series has sought out and discovered new voices, helping to launch the careers of such luminaries as the former poet laureate Billy Collins, Mark Doty, Denis Johnson, Stephen Dobyns, Mark Levine, and Dionisio Martinez.
Structured like an old-school mix-tape, Stuff I've Been Feeling Lately is Alicia Cook's lyric message to anyone who has dealt with addiction. "Side A" touches on all aspects of the human condition: life, death, love, trauma, and growth. "Side B" contains haunting black-out remixes of those poems.
Selected by Victoria Chang as winner of the Jake Adam York Prize, John McCarthy’s Scared Violent Like Horses is a deeply personal examination of violent masculinity, driven by a yearning for more compassionate ways of being.
McCarthy's flyover country is populated by a family strangled by silence: a father drunk and mute in the passenger seat, a mother sinking into bed like a dish at the bottom of a sink, and a boy whose friends play punch-for-punch for fun. He shows us a boy struggling to understand “how we deny each other, daily, so many chances to care” and how “we didn't know how to talk about loss, / so we made each other lose.” Constant throughout is the brutality of the Midwestern landscape that, like the people who inhabit it, turns out to be beautiful in its vulnerability: sedgegrass littered with plastic bags floating like ghosts, dilapidated houses with abandoned Fisher Price toys in the yard, and silos of dirt and rust under a sky that struggles to remember the ground below.
With arresting lyricism and humility, Scared Violent Like Horses attends to the insecurities that hide at the heart of what’s been turned harsh, offering a smoldering but redemptive and tender view of the lost, looked over, and forgotten.
First published in 1977, Love Is a Dog from Hell is a collection of Bukowski's poetry from the mid-seventies. A classic in the Bukowski canon, Love Is a Dog from Hell is a raw, lyrical, exploration of the exigencies, heartbreaks, and limits of love.
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