A collection of essays by contemporary American poets on the subject of their art

"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--

In Feeling as a Foreign Language, Alice Fulton considers poetry's uncanny ability to access and recreate emotions so wayward they go unnamed. Fulton contemplates topics ranging from the intricacies of a rare genetic syndrome to fractals from the aesthetics of complexity theory to the need for "cultural incorrectness." Along the way, she falls in love with an outrageous 17th century poet, argues for a Dickinsonian tradition in American letters, and calls for a courageous poetics of inconvenient knowledge.

Poetry. Latino/Latina Studies. Women's Studies. Latina poet Cindy Williams Gutiérrez describes a mosaic of worlds--Tenochtitlan, New Spain, and the Mexican diaspora--and takes us on a journey that explores her complex multicultural identity. A literary bridge that spans 600 years of history, these poems reflect two pivotal eras in Mexico's past through the voices of real and imagined historical figures that in turn elicit responses from the poet's contemporary voice. Three series of poems include imagined fifteenth-century Nahua songs, irreverent sonnets and décimas in the style of Sor Juana Inés de la Cruz, and the intimate, contemporary voice of Williams Gutiérrez as she pays tribute to all that she holds dear in Mexico's diverse cultural tapestry. Through its distinctive call-and- response approach, this unique collection extends the literary dialogue of the Americas vital to US Hispanic literature, earning the poet a place in the company of the most esteemed Latina feminist writers.

The "World" in Robert Lee Brewer's Solving the World's Problems is a slippery world ... where chaos always hovers near, where we are (and should be) "splashing around in dark puddles." And one feels a bit dizzy reading these poems because (while always clear, always full of meaning) they come at reality slantwise so that nothing is quite the same and the reader comes away with a new way of looking at the ordinary objects and events of life. The poems are brim-full of surprises and delights, twists in the language, double-meanings of words, leaps of thought and imagination, interesting line-breaks. There are love and relationship poems, dream poems, poems of life in the modern world. And always the sense (as he writes) of "pulling the world closer to me/leaves falling to the ground/ birds flying south." I read these once, twice with great enjoyment. I will go back to them often. -Patricia Fargnoli, former Poet Laureate of New Hampshire and author of Then, Something

“This is a book for anyone,” Glyn Maxwell declares of On Poetry. A guide to the writing of poetry and a defense of the art, it will be especially prized by writers and readers who wish to understand why and how poetic technique matters. When Maxwell states, “With rhyme what matters is the distance between rhymes” or “the line-break is punctuation,” he compresses into simple, memorable phrases a great deal of practical wisdom. In seven chapters whose weird, gnomic titles announce the singularity of the book—“White,” “Black,” “Form,” “Pulse,” “Chime,” “Space,” and “Time”—the poet explores his belief that the greatest verse arises from a harmony of mind and body, and that poetic forms originate in human necessities: breath, heartbeat, footstep, posture. “The sound of form in poetry descended from song, molded by breath, is the sound of that creature yearning to leave a mark. The meter says tick-tock. The rhyme says remember. The whiteness says alone,” Maxwell writes. To illustrate his argument, he draws upon personal touchstones such as Emily Dickinson and Robert Frost. An experienced teacher, Maxwell also takes us inside the world of the creative writing class, where we learn from the experiences of four aspiring poets. “You master form you master time,” Maxwell says. In this guide to the most ancient and sublime of the realms of literature, Maxwell shares his mastery with us.

Winner of the Prairie Schooner Book Prize in Poetry, Shane Book?s collection, Ceiling of Sticks, is a powerful and unflinching sort of documentary poetics. It bears elegiac witness to the effects of global politics on individual lives. Book?s poems carry us to Uganda, Ghana, Mali, Trinidad, and Canada?s west coast; from a religious sacrifice in Tarahumara, Mexico, to Book?s ailing grandfather?s bedside. They bring an intimate vision of humanity to scenes of inhuman atrocity and suffering; a moment of clarity and empathy to individuals overwhelmed by war or other man-made catastrophes. The attentiveness of the poems and meditative lyrics reveal a careful allegiance to their subjects and a fearless refusal to turn away. Filled with experiences of Africa and Latin America, California and the Caribbean, family and lost love, these poems resonate with the intensity of truth as it is lived and written.