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  Harbinger - Poems

  Shelley Puhak

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   “The speaker in Shelley Puhak’s Harbinger is no closer to knowing herself than I am, than we are, which is why we trust her. Each similarly titled poem holds a triptych mirror up to the artist and, in so doing, up to us all, so we may better see ourselves as we are. In ever-changing form.” —Nicole Sealey  
  A stunning meditation on artistic creation and historical memory from the winner of the National Poetry Series, chosen by Nicole Sealey 
  From “Portrait of the artist, gaslit” to “Portrait of the artist’s ancestors” to “Portrait of the artist reading a newspaper,” the poems in Harbinger reflect the many facets of the artistic self as well as the myriad influences and experiences that contribute to that identity. 
  “Portrait of the artist as a young man” has long been the default position, but these poems carve out a different vantage point. Seen through the lens of motherhood, of working as a waitress, of watching election results come in, or of simply sitting in a waiting room, making art—and making an artist—is a process wherein historical events collide with lived experience, both deeply personal but also unfailingly political. When we make art, for what (and to whom) are we accountable? And what does art-making demand of us, especially as apocalypse looms? 
  With its surprising insights, Harbinger, the latest book from acclaimed poet Shelley Puhak, shows us the reality of the constantly evolving and unstable self, a portrait of the artist as fragmentary, impressionable, and always in flux. 
    

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  The Poetry of Edna St Vincent...

  Edna St. Vincent Millay

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  Elinor Morton Hoyt was born on 7th September, 1885 in Somerville, New Jersey and from age 12 grew up in Washington D C where her father served as assistant attorney general and later solicitor general.  Her early education together with her renowned beauty suggests she was being trained for life as a debutante but her life quickly found another route as she became absorbed in the world of books. 
   
  An early marriage following her graduation ended when, after being pursued by Horace Wylie, 17 years her senior and a married Washington lawyer with three children, she eloped to England with him.  His wife would not divorce him and the subsequent scandal was widely publicised further fueled by the suicide in 1912 of her abandoned husband. 
   
  With Wylie's encouragement she published in 1912, ‘Incidental Number’, assembled from poems of the previous decade. 
   
  Despite a child from her first marriage Elinor subsequently endured miscarriages, a stillbirth and a premature child who lived for only one week.  When Wylie’s deserted wife agreed to a divorce, the couple returned to the United States and married but they were already drawing apart. 
   
  In 1921, Elinor’s ‘Nets to Catch the Wind’, was published. It was an immediate success and a prize-winner.  In New York’s literary circles she found her next husband who acted as her agent – the poer William Rose Benét, brother of the famed Stephen. They married in 1923 and that same year ‘Black Armor’, was published. The New York Times said "There is not a misplaced word or cadence in it."  She also published her first of four novels, ‘Jennifer Lom’, to excellent reviews. 
   
  She worked for a time as the poetry editor of Vanity Fair, an editor of Literary Guild, and a contributing editor of The New Republic.  Her third book of poetry, ‘Trivial Breath’ arrived in 1928 as did the failure of her marriage with Benét.  
   
  She moved again to England and fell in love with a friend’s husband, to whom she wrote, and later published a series of 19 sonnets; ‘Angels and Earthly Creatures’. 
   
  Elinor Wylie suffered high blood pressure all her adult life and this eventually led to her death at Benet’s New York apartment on 16th December, 1928 where she suffered a stroke. She was 43. 
   
  1 - The Poetry of Edna St Vincent Millay - An Introduction 
  2 - The Ballad of the Harp-Weaver by Edna St Vincent Millay 
  3 - Dirge Without Music by Edna St Vincent Millay 
  4 - Renascence by Edna St Vincent Millay 
  5 - If Still Your Orchards Bear by Edna St Vincent Millay 
  6 - My Heart Being Hungry by Edna St Vincent Millay 
  7 - First Fig by Edna St Vincent Millay 
  8 - Feast by Edna St Vincent Millay 
  9 - Second Fig by Edna St Vincent Millay 
  10 - No Rose That in a Garden Ever Grew by Edna St Vincent Millay 
  11 - Three Songs of Shattering by Edna St Vincent Millay 
  12 - Rosemary by Edna St Vincent Millay 
  13 - I Too Beneath Your Moon by Edna St Vincent Millay 
  14 - Sonnet XLIII - What Lips My Lips Have Kissed, and Where, and Why by Edna St Vincent Millay 
  15 - Sorrow by Edna St Vincent Millay 
  16 - Departure by Edna St Vincent Millay 
  17 - Travel by Edna St Vincent Millay 
  18 - Journey by Edna St Vincent Millay 
  19 - Mist in the Valley by Edna St Vincent Millay 
  20 - Tavern by Edna St Vinent Millay 
  21 - Exiled by Edna St Vincent Millay 
  22 - A Visit to the Asylum by Edna St Vincent Millay 
  23 - Recuerdo by Edna St Vincent Millay 
  24 - The Philosopher by Edna St Vincent Millay 
  25 - Sonnet XXX -  Love is Not All by Edna St Vincent Millay 
  26 - Sonnet XVIII - I, Being Born a Woman by Edna St Vincent Millay 
  27 - The Betrothal by Edna St Vincent Millay 
  28 - When I Too Long Have Looked Upon Your Fa

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  The Choephori

  Aeschylus

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  Produced in 458 BC, Aeschylus' Choephori is the second play in the Oresteian trilogy. The bloodshed begun in the first play with the murder of Agamemnon by his wife Clytemnestra is here continued when Agamemnon's son Orestes avenges his father's death by killing Clytemnestra. It is not until the third and final play, Eumenides, that peace is restored to the family of the Atreidae. The introduction discusses the pre-Aeschylean 'Orestes' tradition in literature and art, as well as the place of Choephori within the Oresteia, its imagery and dramatic structure, the questions of staging the play, and the manuscript tradition.

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  Paradise

  Anonym

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  Dante Alighieri’s Paradise, the final part of The Divine Comedy, is a sublime journey through the celestial spheres of Heaven, guided by the idealized Beatrice, symbolizing divine love and theology. As Dante ascends through the nine heavens—Moon to the Empyrean—he encounters blessed souls, explores virtues, and contemplates divine mysteries, free will, and the nature of God. The poem culminates in a transcendent vision of the Holy Trinity, where human reason surrenders to divine grace. Blending poetic beauty, medieval cosmology, and profound spirituality, Paradise celebrates the soul’s ultimate fulfillment in God’s eternal light, offering a powerful vision of love, order, and salvation.

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  Disorderly Magic and Other...

  Richard Cabut

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  Disorderly Magic and Other Disturbances is a pop meditation on a number of themes: speed, delirium and distance, disillusion, urbanity, various manifestations of the idea of the wilderness and the wasteland, madness, dissolution, memory, mourning, forgetting, hauntology, hauntings, rapid transits, the non-existent, and conjuring the future. The work mixes magic, culture, mystery, memoir, history, melodrama - it is an invocation, an evocation, with dreamlike freedom of movement between past and present, from personal to universal.

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  Are You There

  Samantha Fain

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  In Are You There, Indiana poet Samantha Fain refracts contemporary melancholia into iridescent lyricism. Fain delights in breaking rules, the serendipity of autocorrect incantations, testing how far, in space and time, a connection will travel, and where it ends—quoting sources including Schrödinger, Ask Jeeves and Kim Kardashian. In Fain's haunting poetics, grief, mania, pop culture, faith, quantum physics and digital relationships collide, alive with the spiky humour of brutal self-awareness, aglow with startling new language.
  
  "These poems are like Neosporin; they sting and they heal." Raphael Bob-Waksberg, Creator of Bojack Horseman.
  
  
  "The most lyrically provoking debut I've ever read. Samantha Fain articulates the complex contemporary manifestations of grief and desire, while still giving us possibility instead of foreclosure." C.T. Salazar, Headless John the Baptist Hitchhiking

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